Read Smilla's Sense of Snow Online
Authors: Peter Høeg
Smilla's Sense of Snow (9 page)
There are venetian blinds on the windows. The yellow light of Strand Boulevard is zebra-striped in the room. I punch in the date when she became Chief Accountant: 05-17-57.
The safe hums, and the door opens outward. There is no handle, only a wide ridge to take hold of and lean your weight against.
On the narrow metal shelves are the account books of the Cryolite Corporation since 1885, when it was separated from the â
resund Corporation by government charter. About six ledgers
for each year. Hundreds of volumes in gray moleskin with red stamping. A piece of history. About the politically and economically most profitable and most important investments in Greenland.
for each year. Hundreds of volumes in gray moleskin with red stamping. A piece of history. About the politically and economically most profitable and most important investments in Greenland.
I take out a book marked 1991 and page through it at random. It says:
salary, pension, harbor fees, labor costs, room and board, tonnage charges, laundry and dry cleaning, travel expenses, shareholders' dividends, paid to Struer Chemical Laboratory.
salary, pension, harbor fees, labor costs, room and board, tonnage charges, laundry and dry cleaning, travel expenses, shareholders' dividends, paid to Struer Chemical Laboratory.
Rows of keys are hanging to the right, on the wall of the safe. I find the one marked ARCHIVES.
When I push the door of the safe closed, the numbers disappear one by one, and when I leave the room and go downstairs in the dark, it once again says CLOSED.
The first room in the archives is the entire basement under one wing of the building. A low-ceilinged room with countless wooden shelves, countless quantities of ledger paper wrapped in brown paper, and filled with the air that always hovers over vast paper deserts, enervating and drained of all moisture.
The second room is perpendicular to the first. It has the same kind of shelving. But it also contains archive cabinets with flat drawers for topographical maps. A hanging file with hundreds of maps, some of them clamped onto brass rods. A locked wooden cabinet, like a coffin ten yards long. That must be where the drilling cores sleep.
The room has two windows high on the wall facing Strand Boulevard, and four toward the factory grounds. This is where my preparations with the plastic bags come in. I thought I would cover the windows so I can turn on a light.
There are women who paint their own attractive attic apartments themselves. Reupholster the furniture. Sandblast the façade. I have always called on a professional. Or let it wait until next year.
These windows are large, with iron bars on the inside. It takes me forty-five minutes to drape all six.
When I'm finished I don't dare turn on the overhead lights, after all, but make do with my flashlight.
Merciless order ought to prevail in archives. They are quite simply the crystallization of a wish to put the past in order. So
that busy, energetic young people can come waltzing in, select a specific case, a specific core sample, and waltz out again with precisely that segment of the past.
that busy, energetic young people can come waltzing in, select a specific case, a specific core sample, and waltz out again with precisely that segment of the past.
These archives, on the other hand, leave something to be desired. There are no signs on the shelves. There are no numbers, dates, or letters on the spines of the filed material. And when I select a couple at random, I get:
Coal petrographic analyses on seams from Atâ (low group profiles)
,
Nûgssuaq, West Greenland
, and
On the use of processed raw cryolite in the production of electric light bulbs
, and
Demarcation of borders at the land parceling of 1862
.
Coal petrographic analyses on seams from Atâ (low group profiles)
,
Nûgssuaq, West Greenland
, and
On the use of processed raw cryolite in the production of electric light bulbs
, and
Demarcation of borders at the land parceling of 1862
.
I go upstairs and make a phone call. It always feels wrong to call someone on the phone. It feels especially wrong to call from the scene of the crime. As if I had gotten a direct line to police headquarters to turn myself in.
“This is Elsa Lübing.”
“I'm standing here amid mountains of papers trying to remember where it says something about the fact that even the chosen ones risk being led astray.”
First she hesitates, then she laughs.
“In Matthew. But perhaps more appropriate on this occasion would be Mark, where Jesus says: âAre you not therefore mistaken, because you do not know the Scriptures nor the power of God?'”
We giggle together on the phone.
“I disavow any responsibility,” she says. “I've asked for a cleanup and cataloging for forty-five years.”
“I'm so glad there's something you didn't manage to get done.”
She's silent on the phone.
“Where?” I ask.
“There are two shelves above the benchâthe long wooden case. That's where the expedition reports are. Arranged alphabetically according to the minerals they were looking for. The volumes closest to the window are the trips that had both a geological and a historical purpose. The one you're looking for should be one of the last ones.”
She's about to hang up.
“Miss Lübing,” I say.
“Yes?”
“Did you ever take a sick day?”
“The Lord has watched over me.”
“I thought so,” I say. “I could sort of tell.”
Then we hang up.
It takes me less than two minutes to find the report. It's in a black ring binder. There are forty pages, numbered in the lower-right-hand corner.
It's just the right size to stuff into my handbag. Afterward I have to remove the plastic blackout curtains, and I'll disappear down Kalkbrænderi Road without a trace, just the way I arrived.
I can't restrain my curiosity. I take the report over to the far corner of the room and sit down on the floor, leaning against a bookcase. It gives under my weight. It's a flimsy, wooden bookcase. They never thought that the archives would get so big. That Greenland would be so surprisingly inexhaustible. They've simply filled up the shelves. The traces of time on a flimsy wooden skeleton.
“The geologic expedition of the Cryolite Corporation of Denmark to Gela Alta, July through August 1991,” it says on the title page. Then follow twenty closely typed pages of expedition report. I skim the first pages, which start off by describing the objective of the expedition: “To investigate the deposits of granular ruby crystals on the Barren Glacier on Gela Alta.” The text also lists the five European members of the expedition. Among others, a professor of Arctic ethnology, Dr. Andreas Fine Licht, Ph.D. The name rings a bell somewhere deep inside me. But when I try to listen, it stops. I assume that his presence explains why it says at the bottom that the expedition is supported by the Institute for Arctic Ethnology.
Next comes a report with both an English and a Danish section. I page through this part, too. It concerns a rescue operation from Holsteinsborg to Barren Glacier by helicopter. The helicopter wasn't able to land very close because of the risk of avalanche from the engine noise. That's why it turned around and they sent a Cherokee 6â3000 instead, whatever that is, but it says that it landed on the water, with a pilot, navigator, doctor, and nurse on board. There's a brief report from the rescue team and a doctor's certificate from the hospital. There were five fatalities. One Finn and
four Inuits. One of the Inuits was named Norsaq Christiansen.
four Inuits. One of the Inuits was named Norsaq Christiansen.
There is a twenty-page appendix. A summary of the mineralogical samples brought back. The logs. A series of black-and-white aerial photos of a glacier, splitting and floating around a bright, fractured conical cliff.
A plastic folder contains copies of about twenty letters, all concerning transport of the bodies.
The whole thing looks clean and aboveboard. It's tragic, and yet something that might happen. Nothing that could explain why a little boy, two years later, falls off a rooftop in Copenhagen. It occurs to me that I've been seeing ghosts. That I've gone astray. That it's all a figment of my imagination.
For the first time I notice how burdened the room is with the past. With hundreds of days, hundreds of numbers, hundreds of people, who every day, year in and year out, have eaten their two sandwiches in the cafeteria and shared a beer with Amanda, but never more than one except at Christmas, when the laboratory spikes a 6½ gallon carboy of 96-proof disinfecting alcohol with cumin for the Christmas party. The archives are shouting at me that they have been content. And that's also what it said in the book at the library, and what Elsa Lübing said: “We were content. It was a good place to work.”
As so often before, I feel a yearning to participate, to take part. In Thule and Siorapaluk no one ever asked people what they did, because everybody was a hunter, everybody had work to do. In Denmark, if you are a wage earner, it lends meaning and fulfillment to your life to know that now you're rolling up your sleeves and putting a pen behind your ear and pulling up your bootstraps and going to work. And when you're off, you watch TV or visit friends or play badminton or take a night course in Basic. You don't live life in a cellar beneath Strand Boulevard in the middle of the night at Christmastime.
This is not the first or the last time that I have had these thoughts. What is it that makes us seek out the plunge into depression?
As I close the report, I have an idea. I open it again and page through to the medical report. There I see something. And then I know that it's been worth all the trouble.
I've seen girlfriends in Greenland who, discovering that they're
pregnant, suddenly take better care of themselves than ever before. That's the feeling that passes over me now. From now on I have to watch out for myself.
pregnant, suddenly take better care of themselves than ever before. That's the feeling that passes over me now. From now on I have to watch out for myself.
The traffic has stopped. I don't wear a watch, but it must be about 3:00 a.m. I switch off my flashlight.
The building is quiet. In the silence there is suddenly a sound that is wrong. It's too close to be coming from the street. But faint, like a whisper. From where I'm sitting, the doorway into the first small room is a faintly lit gray rectangle. One moment it's visible, the next it's not. Someone has stepped into the room, someone who is blocking the light with his body.
By moving my head slightly I can follow his movement along the shelves. I take off my boots. They're no good for running. I stand up. By moving my head slightly I can place the figure inside the faintly lit frame of the doorway.
We think there are limits to the dimensions of fear. Until we encounter the unknown. Then we can all feel boundless amounts of terror.
I take hold of one of the bookcases and topple it toward him. Just as it picks up speed, the first volumes fall out. That warns him, and he puts up his hands and tries to stop the bookcase. First it sounds like the bones of his forearms are snapping. Then what sounds like fifteen tons of books fall onto the floor. He can't let go of the bookcase. But it's resting very heavily on him. And slowly his legs begin to buckle.
The misconception that violence always favors the physically strong has spread to a large segment of the population. It's not correct. The results of a fight are a matter of speed in the first few yards. When I moved out to Skovgårds School after six months at Rugmarkens School, I encountered for the first time the classic Danish persecution of those who are different. In the school we came from, we were all foreigners and in the same boat. In my new class I was the only one with black hair and broken Danish. There was one boy in particular, from one of the older classes, who was really quite brutal. I found out where he lived. Then I got up early and waited for him where he crossed Skovshoved Road. He was thirty pounds heavier than I was. He didn't have a
chance. He never got the couple of minutes that he needed to work himself into a trance. I hit him right in the face and broke his nose. I kicked him on one kneecap and then on the other, to bring him down to a more acceptable height. It took twelve stitches to put his nasal septum back in place. No one ever really believed that it could have been me.
chance. He never got the couple of minutes that he needed to work himself into a trance. I hit him right in the face and broke his nose. I kicked him on one kneecap and then on the other, to bring him down to a more acceptable height. It took twelve stitches to put his nasal septum back in place. No one ever really believed that it could have been me.
This time I don't stand there picking my nose either, waiting for Christmas to arrive. From the wall I grab one of the brass rods with fifty topographical maps attached and hit him as hard as I can on the back of the neck.
He drops at once. The bookcase comes down on top of him. I wait for a moment. To see whether he has any friends with him. Or a little dog. But there is no sound except his breathing from under thirty yards of bookcase.
I shine my flashlight on his face. A great deal of dust has settled on him. The blow has split the edge of one ear.
He's wearing black sweatpants, a dark blue sweater, a black wool cap, dark blue deck shoes, and a guilty conscience. It's the mechanic.
“Clumsy Peter,” I say. “What's the matter, did you trip?”
He can't answer because of the bookcase. I try to push it aside, but it won't budge.
I have to give up on professional precautions and turn on the light. I start in shoveling papers, books, folders, reports, and bookends made of solid steel away from the bookcase. I have to clear away nine feet. It takes fifteen minutes. Then I can lift it an inch, and he crawls out on his own. Over to the wall, where he sits down, feeling his skull.
Not until then do my legs start to shake.
“My vision is blurry,” he says. “I think I have a c-concussion.”
“We can always hope so,” I say.
It takes fifteen minutes before he can stand up. And even then he's like Bambi on the ice. It takes another half hour to get the bookcase upright. We have to take off all the papers first before we can lift it and then put them all back. It gets so hot that I have to take off my skirt and work in my tights. He walks around barefoot and bare-chested and gets frequent hot flashes and dizzy
spells and has to rest. Shock and unanswered questions hang in the air along with enough dust to fill a sandbox.
spells and has to rest. Shock and unanswered questions hang in the air along with enough dust to fill a sandbox.
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