We spent whole summer nights leaning against the fence around Oosterpark and talking and talking. We could have earned enough for a whole living-room set if only we’d kept track of it all. People write so much nowadays.
A lot of the time we were less talkative. We sat on the curb until long past midnight, right on the street, and were melancholy and stared at the bricks and then up from the bricks at the stars. Then Bekker said that actually he felt sorry for his boss, and I tried to write a poem, and Hoyer said he had to stand up because the cold from the blue limestone curb was seeping into him. And when, in that short, balmy night, the darkness turned pale above our heads, Bavink sat with his head in his hands and spoke of the sun, almost sentimentally. And we thought it was a shame to have to go to bed, people should be able to stay up forever. That was one of the things we’d change. Kees was asleep.
And then we were off to the Zuiderzee to watch the sun come up, except for Kees, who went home. Hoyer complained about the cold but Bavink and Bekker didn’t notice it at all. They sat on the stones down on the dike with eyes half closed and looked through their eyelashes at the little arrows of dancing gold that the sun made in the water. The sight made Bavink go mad; he wanted to run across the long, long, glittering stripe all the way to the sun. But he stopped at the water’s edge after all and stood there. I remember one day when we, Bavink and I, went to the seaside and half the sun lay big and cold and red on the horizon. Bavink hit his forehead with his fist and said, “God, God, I’ll never paint that. I’ll never be able to paint that.” Now he’s in a mental hospital. When we came back from the Zuiderzee we couldn’t see anything except yellow spots for a long time and our bosses didn’t like these excursions of ours at all. I was half asleep at the office afterwards and Bekker, who could handle it better than I could, sat at his desk daydreaming about the sun all day and looked out at the lit-up treetops on the far side of the garden more than usual and longed for six o’clock more desperately than ever.
We were also big on excursions after work to the ring of dikes around the city. We sat in the grass down on the dike, among the buttercups, and inquisitive cows came up to us with their big eyes and looked at us and we looked at them. And then it was a sure bet that Bavink would start in about Lien. One way or another those cow eyes must have had something to do with it. And then the twilight started to shimmer, the frogs started croaking, one frog made a horrible racket right next to my shoe, my foot was almost in the ditch. You could hear other frogs softly, far, so far away. The cow that in the half dark you could hardly see anymore you could still hear, trimming the grass. One started mooing pitifully in the distance. A horse ran back and forth, you could hear it but not see it. The cow near us snorted and started to get restless. Bekker said: “It’s nice here. If only it stayed like this.” Bavink stood up and spread his arms wide and listened, and then sat down again and said that we didn’t get it either, and we never would, he himself didn’t get it, and really we were not much better than everyone else, and I think he was very nearly right about that.
No, we didn’t actually do anything. We did our work at the office, not all that well, for bosses we despised — except Bavink and Hoyer, who had no bosses, and who didn’t understand why we went in to see ours every day.
But we were waiting. For what? We never knew. Bekker said: “For the Kingdom of God.” At least that’s what he said once, without explaining any further. Bavink always talked about “the end that is also a new beginning.” We knew exactly what he meant and said nothing more about it.
That summer we met almost every night at Kees’s attic. Kees had decided he needed a “place” too. His place was the biggest and the easiest for all of us to get to. The neighbors didn’t like everybody going up and down the stairs every night. Kees’s father didn’t see the point of the whole thing. Now Kees’s father greets me very politely and calls me “Mister Koekebakker,” because he’s seen my name in the Handelsblad.
Bekker told Kees how he had to decorate it. They bought cheap wallpaper with a little flower pattern for three cents a roll and then glued it to the wall reversed so that the plain green backing faced out. Bekker wrote out a proverb in calligraphy and stuck it to the wall next to the door: “J’ai attendu le Seigneur avec une grande patience, enfin il s’est abaissé jusqu’ à moi.”*
I don’t know anymore where he got that from. Kees couldn’t read it. But Kees did contribute something, he made a shovel and Bekker managed to attach it to the wall pointing at the proverb. It wasn’t clear at first what it was supposed to mean, but later it turned out that Bekker wanted to go live on the heath someday and work a little piece of land, and never have to go back to the office. Bavink thought that was a good idea but was afraid Lien wouldn’t agree, and Hoyer preferred to hang around in bars.
Then we sat there and tore everything to pieces. Or almost everything. I remember that Zola and Jaap Maris came out more or less unscathed, maybe one or two others. Bekker read to us from Dante, he knew Ecclesiastes and the Song of Songs and the Book of Job by heart. It was very impressive. Not much of the outside world made it into Kees’s attic. The only window was almost shoulder-height off the floor; when you sat at the table, you couldn’t see much more than a sliver of sky, the color slowly draining out of it, and a few stars when it was dark out.
Paint? Who still knew how to paint nowadays, to hear Bavink tell it! You could palm anything off on people today, literally anything. I should paint a picture myself — he was talking about me, Koekebakker. He would tell me what to do. “Paint two horizontal stripes, one on top of the other, same width, one blue and one gold, and then put a round gold bit in the middle of the blue stripe. We’ll write in the catalog #666: The Thought, oil on canvas. And we’ll submit it under my name: Johannes Bavink, Second Jan Steenstraat, number soand-so, and we’ll price it at eight hundred guilders. Then you can just sit back and see everything they come up with. They’ll discover all sorts of things in there that you didn’t have the slightest idea of.”
Bavink was still very young back then. Later on, Lien came over too sometimes and made tea. One time, she scrubbed the floor and dusted everything off, but that was very unpleasant. It caused some embarrassment for Kees when she came over, because his old man had definite misgivings about the young lady, and Bavink was never the way we liked him when Lien was around. He was always giving her little squeezes and pinches. It was annoying.
Luckily he started to leave her at home before long, because he thought she was making eyes at me. Bekker said “Girls, they’re not worth it” and puffed on his clay pipe with especial satisfaction the first time she didn’t come. And that evening it was really nice too. We sat for hours in the dark. The lamp got fainter and fainter, then went out. We just stayed there sitting and smoking, for hours. Every once in a while someone said something. Bavink decided that painting was the dumbest thing anyone could do. Kees didn’t understand anything, as usual. “You have to just sit quietly and stay like that,” Bavink said, and looked up at the sky. A big greenish star twinkled. “You have to just sit quietly and stay like that and long with all your might, without knowing what for.” He filled a fresh pipe.