"Where do I belong, then?"
Onno waved an arm. "In space. You view the Netherlands from space, like an astronaut; but I'm in the middle of it, frozen in the Calvinist ice, like a mammoth. Don't get me started. Holland belongs to me and not a lost Central European woodcutter like you."
It was true. Max could not imagine what it felt like to be part of a people, a nation, a race, a religion — in brief, when one was not alone. He was Dutch, Austrian, Jewish, and Aryan all at once, and hence none of them. He belonged only with those who, like him, belonged with no one.
"I feel as Dutch," he said, "as Spinoza must have felt."
"Why Spinoza, of all people?"
"For a number of reasons. Partly because he was a lens grinder."
But their unending stream of theories, jokes, observations, and anecdotes was not their real conversation: that took place beneath these, without words, and it was about themselves. Sometimes it became visible in a roundabout way, like when in the past North Sea fishermen located a school of herring from its silvery reflection against the clouds.
In a pub in the newspaper district, full of journalists from the morning dailies, as well as the evening papers, where he ordered his first rum-and-Coke, Onno once told Max about the Gilgamesh epic, the oldest story in the world, deciphered in the previous century by his colleague Rawlinson, written as long before Christ as they were now living after Christ. Cheops's pyramid had already been built, said Onno, because that had always been there, so to speak; but Moses, the Trojan War, all of that had yet to happen.
The first story was the story of a friendship. The Babylonian king Gilgamesh dreamed of a frightening ax, with which he fell in love and on which he "lay as on a woman." His mother, obviously well acquainted with the theories of Freud, interpreted that ax as a man on which he would lie as on a woman. And a little later the man appeared: Enkidu, a tamed savage, with whom he ventured forth and slayed the monster Chuwawa. However, that deed eventually led to Enkidu's death. In his despair Gilgamesh went in search of the elixir of immortality, but when even that was finally stolen from him, by a serpent, he resigned himself to the inevitable like a Candide avant la lettre and found his life's fulfillment as the architect of the battlements of Uruk.
"Magnificent," said Max. "Why don't I know all that? Why doesn't everyone read that?"
"Because not everyone knows me."
"What a dreadful fate that must be, not knowing you."
"The very thought strikes me as unbearable."
"I too lived for a long time in that hell."
With the calculated precision of someone who has had too much to drink, a man sank into a chair at their table.
"Can I inquire what les boys are talking about?"
Onno looked into the journalist's cynical face with distaste.
"Of course you can't. That would confront you fatally with the abyss of your own worthlessness, day laborer that you are. Your sense of history extends no further than yesterday's evening paper, but we — we survey eons! Landlord!" he called to the bodybuilder who served as a waiter. "A big order! Another Cuba libre and a freshly squeezed orange juice!"
Max leaned confidentially toward the man opposite him. "Personally I like you well enough," he said softly, "but why does everyone else hate your guts?"
The man continued staring at him for a moment, digesting the insult. Then he leaped forward and grabbed Max by his lapel; perhaps he was going to pull him across the table, but while Max was helpless in his grasp, Onno jumped up and did the same to the journalist himself, causing Max to tumble from his chair. While he kept the man pressed down against the table with his left hand, he raised his right hand high in the air, as if to give him a deadly karate blow to the neck, looked around the pub, which had fallen silent, and said, "He attacked my friend — he must die!"
Max knew nothing about Gilgamesh and Enkidu, although astronomy had first originated at that time and in that place, but he did know something about different kinds of men, like Leopold and Loeb. While they had been debating in a pub with Red activists that day — or some other day — and were walking back through the city after midnight, across the square with the ruined synagogues, he told Onno the story of those two American law students, bosom friends, age eighteen and nineteen, sons of wealthy Chicago families. They read Nietzsche's Thus Spake Zarathustra and Beyond Good and Evil, and came to the conclusion that they were Übermenschen, above all human laws. In 1924, in order to put this to the test, they decided to commit a perfect crime, motiveless, apart from their own private motive. They murdered a fourteen-year-old boy, made his face unrecognizable with sulfuric acid, hid his body in a sewer, and went to dinner in a chic restaurant. However, Leopold, an expert ornithologist, had left his glasses behind, and everything came out. They were given life sentences plus ninety-nine years. Loeb, the charmer of the two, was later killed in a fight in prison; Leopold, the brains, had been released about ten years ago, and would now be sixty-two if he was still alive.
Onno said nothing. He knew at once what Max was really talking about. They had not talked about Max's father again since the evening of their meeting; it would certainly crop up, but Onno felt that it was not for him to decide the moment. Max, for his part, naturally understood what Onno understood, but he did not broach the subject, either. Instead, he said, "Who shall we murder, Onno?"
He was given no answer. Onno breathed in the night air deeply and said, "I smell a presentiment of spring."
Grating and sparking, a rail-cleaning tram approached across the deserted square. As it passed, they shouted "Bravo!" and applauded at the sight, whereupon the tram stopped and one of the workmen invited them to take a ride. In the iron interior, full of heavy, dirty tools, there turned out to be another passenger, a seedy-looking girl, full of drink or something else, standing on a box muttering incomprehensible words to herself. When Onno saw Max looking at her, he said sternly: "Keep your hands off her, you disgusting swine."
Feeling as though he were making a voluntary sacrifice, Max also decided that it would be advisable in this case.
"Gee up, coachman!" cried Onno to the driver.
Grinding the rails and making sparks, the tram set in motion. Onno stood with his feet wide apart, put his hands on his hips, raised his chin, and with a heroic, Bismarck-like look, cried: "I am the god of the city!"
This was how Max liked to see him; he would never forget such moments. For the workers of the transport company, of course, he was an oddball, one of many who hung around the city at night, but Max realized that he wasn't just yelling something at random, but really was personifying a god, with all that fire at his feet, a Pythian oracle on a box, and surrounded by three or four synagogues; and Onno knew that Max was the only one who understood.
And at four in the morning, in the Sterretje pub, surrounded by seedy taxi drivers, whores, pimps, thieves, and murderers, it suddenly emerged that Onno had never read Kafka's "Letter to my Father," and they went to Max's place to make good the omission.
When Onno had climbed those three flights of stairs for the first time and seen Max's flat, he said while still in the doorway: "Now I know for certain that you're crazy."
"All right. Let's assign roles once and for alclass="underline" I'm crazy and you're stupid."
"Agreed!"
Onno had seen at first glance that nothing had been put down or wound up anywhere by accident. Not that it was aesthetically empty, or anxiously tidy; on the contrary, it was full, with books and folders on the floor, and on the baby grand too, but there was never a larger book on top of a smaller one, or a folder on a book, and nothing looked as though it could be lying in any other way — like in a painting. This harmonious composition extended naturally to everything in the apartment. There was no question, either, of a particular style; there were modern things, antique and semi-antique, but everything fitted in and the eye was never offended by something like a colored plastic object or an advertising brochure or even a ballpoint pen. The desk, too, was full of books and papers, but everything was carefully arranged, in parallel, at right angles, without creating a manic impression. What Onno called "madness" was admiration for something that he himself totally lacked in his everyday life.