5
" Всеки стоеше откъм собствената си страна в нашия нов свят и в продължение на дълги периоди можехме само да махаме и да си правим знаци през глъчката и олелията. Вечер, когато всички задължения бяха изпълнени, се тръшвахме, капнали, да гледаме новини, телевизионни викторини или стари филми и макар никой от двама ни да не се осмеляваше да го изрече гласно, сигурен съм, че и тя понякога се питаше дали всички подробности и формалности, всички отегчителни и нелепи прозаични ангажименти не бяха засенчили така наречения смисъл на живота. Едва много по-късно ми хрумна, че смисълът вероятно не се заключава в подбрани мигове, заснети от мен и залепени в дебелия семеен албум; смисълът на всичко по-скоро се корени в съвкупността от повтарящи се тривиални дейности, в самото повторение, в закономерностите на това повторение. В течение на еднообразното всекидневие бях усещал смисъла като внезапна и мимолетна лекота, когато, залитащ от изтощение, спирах помежду кухненската маса и миялната с поредната мръсна чиния в ръка и до слуха ми някъде от вътрешността на апартамента долиташе смехът на децата. В случайни, откъслечни мигове ме спохождаше прозрението, че именно рутинно повтарящите се думи и действия са средоточието на онова, което се бе превърнало в мой живот; че не бих могъл да се доближа повече до същината на битието си. "
― Jens Christian Grøndahl , Silence in October
14
" From Tomorrow to Yesterday
The tree trunks move in time with the rhythm of her rubber soles on the wet path, where the air is still cool after the night rain. The woodland floor is white with anemones; in one place, growing close to the roots of an ancient tree, they make her think of an old, wrinkled hand. She could go on and on without getting tired, without meeting anyone or thinking of anything in particular, and without coming to the edge of the woods. As if the town did not begin just behind the trees, the leafy suburb with its peaceful roads and its houses hidden behind close-trimmed hedges. She doesn't want to think about anything, and almost succeeds; her body is no more than a porous, pulsating machine. The sun breaks through the clouds as she runs back, its light diffused on the gravel drive and the magnolia in front of the kitchen window. His car is no longer parked beside hers, he must have left while she was in the woods.
He hadn't stirred when she rose, and she'd already been in bed when he came home late last night. She lay with her back turned, eyes closed, as he undressed, taking care not to wake her. She leans against one of the pillars of the garage and stretches, before emptying the mailbox and letting herself into the house. She puts the mail on the kitchen table. The little light on the coffeemaker is on; she switches it off. Not so long ago, she would have felt a stab of irritation or a touch of tenderness, depending on her mood. He always forgets to turn off that machine. She puts the kettle on, sprinkles tea leaves into the pot, and goes over to the kitchen window. She observes the magnolia blossoms, already starting to open. They'll have to talk about it, of course, but neither of them seems able to find the right words, the right moment.
She pauses on her way through the sitting room. She stands amid her furniture looking out over the lawn and the pond at the end of the garden. The canopies of the trees are dimly reflected in the shining water. She goes into the bathroom. The shower door is still spotted with little drops. As time went on they have come to make contact during the day only briefly, like passing strangers. But that's the way it has been since the children left home, nothing unusual in that. She takes off her clothes and stands in front of the mirror where a little while ago he stood shaving. She greets her reflection with a wry smile. She has never been able to view herself in a mirror without this moue, as if demonstrating a certain guardedness about what she sees. The dark green eyes and wavy black hair, the angularity of her features. She dyes her hair exactly the color it would have been if she hadn't begun to go gray in her thirties, but that's her only protest against age. "
― Jens Christian Grøndahl , An Altered Light
16
" Говорихме си за специалните, макар и лишени от събития моменти, когато внезапно несъзнателно и непреднамерено движение, светлината, падаща върху него, и сянката, която то очертава за миг, се обединяват по загадъчен начин с погледа ти, като че движението произлиза от очите, които го следят. "
― Jens Christian Grøndahl , Silence in October
