Free The Discoverer by Jan Kjaerstad

that way, firmly but gently. ‘Haul in the foresheet a bit!’ she yelled, as if she had heard his thoughts and meant to give him something else to think about. She had brought them back into a broad reach. He was putting everything he had into it, but he kept ballsing up. ‘God, what a clumsy clod!’ she snapped, clearly annoyed by his ignorance of sailing terms. As far as Jonas was concerned this merely confirmed what he already knew: that girls had a language all their own. Nonetheless it seemed pretty obvious that something was going on between them, in the midst of the storm; that this sail was bound to culminate in, to carry on into, a race between two bodies, because this was only the foreplay, that much he understood, that much he could tell from the look in her eyes, the fury and the lust he saw glinting in them through the salty spray with which they were drenched every now and again.
    The sea grew rougher and rougher the farther east they sailed. Then, dead abeam, Jonas spotted a ship. A massive vessel strung with tiny lights. A starship in space. It looked as though Julie, out of sheer bloody-mindedness, meant to cut straight across its bow. They were done for, he was sure of it. ‘Ease up!’ he screamed. ‘For God’s sake, can’t you see we’re going to ram right into it!’
    Up in the organ gallery, surveying the church below, Jonas Wergeland thought to himself that this too was a sea voyage of sorts – or a cruise, perhaps, what with everyone being so primped and perfumed. Against his will his eyes lingered again on the nape of Margrete’s neck – that enigmatic vulnerability – until he managed to pull them away and ran them over the rows of pews. He recognised more and more faces and once again it struck him what a springboard for memories this was. Although many years were to pass before Jonas realised that it was during this funeral service that the seeds had been sown of what was possibly his most famous programme, the one on Henrik Ibsen. It had something to do with the sight of a church wherein everything was condensed, to form a mesh, a net, in which the whole of one’s life had been caught. If, that is, it had not been inspired by hearing the powerful words from the Bible, by being confronted with the deepest solemnity. For what was the biggest challenge where Henrik Ibsen was concerned? It was to discover what actually occurred at the greatest moment in Norwegian literature. And this too involved a church.
    In the spring of 1864, at the age of thirty-six, Henrik Ibsen began histwenty-seven years in exile by travelling to Italy. It was a far from successful writer who left his native land, left Norway – in political terms a Swedish province, in cultural terms a Danish one. He was plagued by money troubles and had not yet written any work of real consequence, or at least not anything that could be described as world-class. It is not much of an overstatement to say that his life was – figuratively speaking – on the rocks.
    For a long time Jonas considered centring the programme around Ibsen’s arrival in ‘the Beautiful South’, Ibsen himself having so often described what a revelation it had been to come down from the Alps: ‘from the mists, through a tunnel and out into the sunlight’; a dark curtain had been pulled back and suddenly he found himself bathed in the most wonderful bright light. In his mind Jonas saw images of the countryside, an evocative montage of contrasting scenes; was tempted, but eventually dropped the idea.
    Because the moment of truth does not occur until the following year, on a summer’s day in 1865. The Ibsens are staying in the Alban Hills, at Ariccia, twenty kilometres from the Italian capital. Ibsen is working on Brand, but getting nowhere with it. But then, on a brief visit to Rome, things fall into place for him. The incident is described in a letter to Bjørnstjerne Bjørnson: ‘Then one day I visited St Peter’s Basilica […] and all at once