“And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of colour across the sky - so the space where I exist, and want to keep existing, and to be quite frank I hope I die in, is exactly this middle distance: where despair struck pure otherness and created something sublime.”

“As your perspective of the world increases not only is the pain it inflicts on you less but also its meaning. Understanding the world requires you to take a certain distance from it. Things that are too small to see with the naked eye, such as molecules and atoms, we magnify. Things that are too large, such as cloud formations, river deltas, constellations, we reduce. At length we bring it within the scope of our senses and we stabilize it with fixer. When it has been fixed we call it knowledge. Throughout our childhood and teenage years, we strive to attain the correct distance to objects and phenomena. We read, we learn, we experience, we make adjustments. Then one day we reach the point where all the necessary distances have been set, all the necessary systems have been put in place. That is when time begins to pick up speed. It no longer meets any obstacles, everything is set, time races through our lives, the days pass by in a flash and before we know that is happening we are fort, fifty, sixty... Meaning requires content, content requires time, time requires resistance. Knowledge is distance, knowledge is stasis and the enemy of meaning. My picture of my father on that evening in 1976 is, in other words, twofold: on the one hand I see him as I saw him at that time, through the eyes of an eight-year-old: unpredictable and frightening; on the other hand, I see him as a peer through whose life time is blowing and unremittingly sweeping large chunks of meaning along with it.”

a time for everything

“And it's a disquieting thought that not even the past is done with, even that continues to change, as if in reality there is only one time, for everything, one time for every purpose under heaven. One single second, one single landscape, in which what happens activates and deactivates what has already happened in endless chain reactions, like the processes that take place in the brain, perhaps, where cells suddenly bloom and die away, all according to the way the winds of consciousness are blowing.”

“And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor.”

"For the heart, life is simple: it beats for as long as it can. Then it stops. Sooner or later, one day, this pounding action will cease of its own accord, and the blood will begin to run towards the body's lowest point, where it will collect in a small pool, visible from the outside as a dark, soft patch on ever whiter skin, as the temperature sinks, the limbs stiffen and the intestines drain. These changes in the first hours occur so slowly and take place with such inexorability that that there is something almost ritualistic about them, as though life capitulates according to specific rules, a kind of gentleman's agreement, to which the representatives of death also adhere, inasmuch as they always wait until life has retreated before they launch their invasion of the new landscape. By which point, however, the invasion is irrevocable. The enormous hordes of bacteria that begin to infiltrate the body's innards cannot be halted. Had they but tried a few hours earlier, they would have met with immediate resistance; however, everything around them is quiet now, as they delve deeper and deeper into the moist darkness. They advance on the Haversian canals, the crypts of Lieberkuhn, the islets of Langerhans. They proceed to Bowman's capsule in the kidneys, Clark's column in the Spinalis, the black substance in the mesencephalon. And they arrive at the heart. As yet, it is intact, but deprived of the activity to which end its whole construction has been designed, there is something strangely desolate about it , like a production plant that workers have been forced to flee in haste, or so it appears, the stationary vehicles shining yellow against the darkness of the forest, the huts deserted, a line of fully loaded cable buckets stretching up the hillside.

The moment life departs the body, it belongs to death. At one with lamps, suitcases, carpets, door handles, windows. Fields, marshes, streams, mountains, clouds, the sky. None of these is alien to us. We are constantly surrounded by objects and phenomena from the realm of death. Nonetheless, there are few things that arouse in us greater distaste than to see a human being caught up in it, at least if we are to judge by the efforts we make to keep corpses out of sight. In larger hospitals they are not only hidden away in discreet, inaccessible rooms, even the ways there are concealed, with their own lifts and basement corridors, and should you stumble upon one of them, the dead bodies being wheeled by are always covered. When they have to be transported from the hospital it is through a dedicated exit, into vehicles with tinted glass; in the church grounds there is a separate, windowless room for them; during the funeral ceremony they lie in closed coffins until they are lowered into the earth or cremated in the oven. It is hard to imagine what practical purpose this procedure might serve. The uncovered bodies could be wheeled along the hospital corridors, for example, and thence be transported in an ordinary taxi without this posing a particular risk to anyone. The elderly man who dies during a cinema performance might just as well remain in his seat until the film is over, and during the next to for that matter. The teacher who has a heart attack in the school playground does not necessarily have to be driven away immediately; no damage is done by leaving him where he is until the caretaker has time to attend to him, even though that might not be until some time in the late afternoon or evening. What difference would it make if a bird were to alight on him and take a peck? Would what awaits him in the grave be any better just because its hidden? As long as the dead are not in the way there is no need for any rush, they cannot die a second time. Cold snaps in the winter should be particularly propitious in such circumstances. The homeless who freeze to death on benches and in doorways, the suicidal who jump off high buildings and bridges, elderly women who fall down staircases, traffic victims trapped in wrecked cars, the young man who, in a drunken stupor, falls into the lake after a night on the town, the small girl who ends up under the wheel of a bus, why all this haste to remove them from the public eye? Decency? What could be more decent than to allow the girl’s mother and father to see her an hour or two later, lying in the snow at the site of the accident, in full view, her crushed head and the rest of her body, her blood-spattered hair and the spotless padded jacket? Visible to the whole world, no secrets, the way she was. But even this one hour in the snow is unthinkable. A town that does not keep its dead out of sight, that leaves people where they died, on highways and byways, in parks and car parks, is not a town but a hell. The fact that this hell reflects our life experience in a more realistic and essentially truer way is of no consequence. We know this is how it is, but we do not want to face it. Hence the collective act of repression symbolised by the concealment of our dead.

What exactly it is that is being repressed, however, is not so easy to say. It cannot be death itself, for its presence in society is much too prominent. The number of deaths reported in newspapers or shown on the TV news every day varies slightly according to circumstances, but the annual average will presumably tend to be constant, and since it is spread over so many channels virtually impossible to avoid. Yet that kind of death does not seem threatening. Quite the contrary, it is something we want and will happily pay to see. Add the enormously high body count in fiction and it becomes even harder to understand the system that keeps death out of sight. If the phenomenon of death does not frighten us, why then this distaste for dead bodies? Either it must mean that there are two kinds of death or that there is a disparity between our conception of death and death as it actually turns out to be, which in effect boils down to the same thing: what is significant here is that our conception of death is so strongly rooted in our consciousness that we are not only shaken when we see that reality deviates from it, but we also try to conceal this with all the means at our disposal. Not as a result of some form of conscious deliberation, as has been the case with rites such as funerals, the form and meaning of which are negotiable nowadays, and thus have shifted from the sphere of the irrational to the rational, from the collective to the individual – no, the way we remove bodies has never been the subject of debate, it has always been just something we have done, out of a necessity for which no one can state a reason but everyone feels: if your father dies on the lawn one windswept Sunday in autumn, you carry him indoors if you can, and if you can’t, you at least cover him with a blanket. This impulse, however, is not the only one we have with regard to the dead. No less conspicuous than our hiding corpses is the fact that we always lower them to ground level as fast as possible. A hospital that transports its bodies upwards, that sites its cold chambers on the upper floors, is practically inconceivable. The dead are stored as close to the ground as possible. And the same principle applies to the agencies that attend them; an insurance company may well have its offices on the eighth floor, but not a funeral parlour. All funeral parlours have their offices as close to street level as possible. Why this should be so is hard to say; one might be tempted to believe that it was based on some ancient convention that originally had a practical purpose, such as a cellar being cold and therefore best suited to storing corpses, and that this principle had been retained in our era of refrigerators and cold-storage rooms, had it not been for the notion that transporting bodies upwards in buildings seems contrary to the laws of nature, as though height and death are mutually incompatible. As though we possessed some kind of chronic instinct, something deep within us that urges us to move death down to the earth whence we came.

It might thus appear that death is relayed through two distinct systems. One is associated with concealment and gravity, earth and darkness, the other with openness and airiness, ether and light. A father and his child are killed as the father attempts to pull the child out of the line of fire in a town somewhere in the Middle East, and the image of them huddled together as the bullets thud into flesh, causing their bodies to shudder, as it were, is caught on camera, transmitted to one of the thousands of satellites orbiting the Earth and broadcast on TV sets around the world, from where it slips into our consciousness as yet another picture of death or dying. These images have no weight, no depth, no time, and no place, nor do they have any connection to the bodies that spawned them. They are nowhere and everywhere. Most of them just pass through us and are gone; for diverse reasons some linger and live on in the dark recesses of the brain. An off-piste skier falls and severs an artery in her thigh, blood streams out leaving a red trail down the white slope; she is dead even before her body comes to a halt. A plane takes off, flames shoot out from the engines as it climbs, the sky above the suburban houses is blue, the plane explodes in a ball of fire beneath. A fishing smack sinks off the coast of northern Norway one night, the crew of seven drown, next morning the event is described in all the newspapers, it is a so-called mystery, the weather was calm and no mayday call was sent from the boat, it just disappeared, a fact which the TV stations underline that evening by flying over the scene of the drama in a helicopter and showing pictures of the empty sea. The sky is overcast, the gray-green swell heavy but calm, as though possessing a different temperament from the choppy, white-flecked waves that burst forth here and there. I am sitting alone watching, it is some time in spring, I suppose, for my father is working in the garden. I stare at the surf..."

the opening chapter of karl ove knausgaard's a death in the family (english title) or min kamp 1. this is the first fiction book i've picked up in ages, because it got good reviews and it's also partly autobiographical (my fave). theres something strangely enrapturing about his writing...even when he's talking about something completely mundane.

p.s sorry for any typos, i sped through copying this from the ebook version, so much so that my fingers started tingling

Min Kamp #1

"For, while previously I saw time as a stretch of terrain that had to be covered, with the future as a distant prospect, hopefully a bright one, and never boring at any rate, now it is interwoven with our life here and in a totally different way. Were I to portray this with a visual image it would have to be that of a boat in a lock: life is slowly and ineluctably raised by time seeping in from all sides. Apart from the details, everything is always the same. And with every passing day the desire grows for the moment when life will reach the top, for the moment when the sluice gates open and life finally moves on. At the same time I see that precisely this repetitiveness, this enclosedness, this unchangingness is necessary, it protects me. On the few occasions I have left it, all the old ills return."


and


"Now I saw his lifeless state. And that there was no longer any difference between what once had been my father and the table he was lying on, or the floor on which the table stood, or the wall socket beneath the window, or the cable running to the lamp beside him. For humans are merely one form among many, which the world produces over and over again, not only in everything that lives but also in everything that does not live, drawn in sand, stone, and water. And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor."