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  Translated by Kari Dickson

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  1

  My name is Eli. Which means my God in Hebrew. It can be a girl’s name or a boy’s name.

  I can’t stay in the flat. The floor slopes towards the dangerous windows that face out onto the back yard. I live six flights up. The windows pull me towards them. I could throw myself out. I might jump. I’m scared. I talk and can’t stop. I am the one telling the story and the one the story is about. The one with voices in her head. The one that they talk in, endlessly. Have to defend myself against what they say. Have to answer their calls. Have to make repetitive movements with my arms in the corner of the kitchen. Again and again, like they tell me I should. What would happen if I didn’t do it? I might crack. Fall to pieces. My head might split. The whole flat might crash out of the building like a desk drawer.

  I am thirty-nine years old. Have been in and out of psychiatric clinics for the past twenty years. Almost as long as I’ve made a living writing novels, plays and film manuscripts. Writing is not a profession. It is a way of life. I wrote yesterday. I’m writing today and will write again tomorrow. Wander through words. Feel and get pleasure from sentences and contexts. Find them inside me and give them away. Give away, yet keep them. A gift to grow with. To hold on to when I am ill. To hold on to when I am well. Right now I’m sitting waiting. I’ve got a new cognitive therapist. The intention is that I’ll be able to live at home, after five years in and out of the ward.

  I’m sceptical about the cognitive therapist. I’ve tried so many different treatments. But now I’m going to try something new, and why not? He’s my age, tall and thin with a ponytail. He comes home to me instead of me going to him. After all, some of the issues are here at home with me. The dangerous windows. The fear that I will throw myself out. Crash out. Slip out. Be sucked out by air pressure. Without being able to grab the slippery furniture and hold tight. He asks me to write a list of things I find difficult. It’s long. He asks me to write a list of what I’m good at. It’s just as long, which surprises the therapist. A blip in the illness.

  ‘Where is it most dangerous?’ he asks. ‘In the bedroom,’ I reply. The floor slopes and I’m pulled towards the dark window. ‘I have to hold on to the bed.’ We go into the bedroom. The window is completely covered by a dark curtain. A big African statue stands behind the curtain as protection. The window is never opened. The curtain is never opened. ‘The floor slopes,’ I tell him. The therapist takes a small ball out of his pocket. He puts it on the floor. The ball rolls in a circle and then comes to a standstill. It doesn’t roll towards the window. We both watch the ball. And I think to myself that our shared understanding that something blatantly wrong is right has now been disproved and is lying there in front of us as the truth. Don’t know what to believe, we must have seen the same thing. Then he picks up the ball and puts it back in his pocket. He doesn’t say a word.

  My name is Eli. It can be both a girl’s name and a boy’s name and means my God in Hebrew. The house is silent. We have stopped screaming. We have stopped running around every which way and making a mess. Mum gave up trying to make us behave ages ago. The flowers in the living room lie strewn all over the floor. We were throwing things around and didn’t know when to stop. I am one and a half years old, and my brother, Torvald, is a year and one day older than me. We are strapped into our cots with the harness from the pushchair. We have tried crying several times during the night, but have given up. No one has come to our rescue.

  I feel the harness rubbing against my naked body. I twist and turn like a snake but can’t break free. My body is wet with sweat and my face is wet with tears. We have managed to take off our pyjamas, underpants and nappies. They are lying on the floor beside the cot. We have thrown out the pillows, blankets and sheets. We have thrown the mattress over the edge of the cot. We are sitting there naked on the bare planks of the cot, secured by the harness, when Dad comes in in the morning. ‘Just look how strong they are,’ he says.

  I go to bed early, having taken a handful of sleeping tablets. It’s night. Sleep did come, but now it’s suddenly vanished again. My leg is shaking. I toss and turn in bed. Lie with my arms outstretched, think that I’m strapped down. Pull with my arms and kick with my legs. The strap is tight over my tummy. I can’t open it myself. I think that my hands and feet are restrained too. Someone must have the key to release them. The nurses have it. I shout for help again and again. Can’t reach up to turn on the light. It all happens in the dark. I shout again.

  I am alone in the flat. In the city. In the country. On the earth. In the world. The Milky Way has crashed in a cloud of gas that has wiped out all humanity. All human life has been destroyed and I am the only one left. Only I am immune to the gas, and all the others who are restrained right now in mental hospitals all over the world. Without a key or any means of freeing themselves. There is still food in the fridge. There are still cars in the car parks. There is still money in the banks. There are still horses in the fields. Still medicine in the hospitals. The pills are still in their boxes. Still schools but no pupils. Still books but no readers. Still flowers in the flower shops. The sun is still in the sky. The rain is still in the clouds. Soon alarm clocks will ring all over the northern hemisphere. And there is no one left to turn them off.

  I could make sure things carried on. But I can’t get free. The strap is big and wide. I haven’t got a chance. I am dependent on people who no longer exist. I am the one who remains when all others disappear. I still have language in my mouth. Sound in my throat. But there are no ears to hear. I shout again. Don’t know what else to do. I have words in my mouth, but to no avail. Will I say my last prayer out loud, or silently inside?

  Dad is playing with us kids. He creeps around on all fours. Then suddenly he’s not playing any more. He snarls at us. Shouting is like hitting with your voice. His hand is quick as a fly swat. We scream. Run and hide. Mum shouts: ‘You mustn’t play dogs.’ ‘I’m not a dog,’ Dad barks. ‘I’m a lion.’

  ‘Focus, focus, focus. Fight, fight, fight.’ It’s the boxing coach’s voice. But it must have been there all the time. Long before I started boxing. I do sit-ups and press-ups. The plank. ‘Muscular pain is positive pain. Up on your toes. Boxing is like playing music with your feet!’ Punch the bag. The strength isn’t in your arms, but in your hips. I have to carry my sparring partner on my back across the room and back. I have a fighting heart. ‘Breathe, breathe, breathe.’ I think about my new cognitive therapist. We’re not supposed to carry anything back. We have to breathe in the present and the future. Not talk too much about the past. Let go of our baggage. Peel it off and leave it behind, bit by bit. Find ways round. Find routines. Find ways forward. Sweat. Grind my teeth at night. What is waiting for me now?

  I stand on a chair in the kitchen and recite my poems. The words rhyme. I speak loudly and gesticulate with my arms. Mum and Dad and my siblings are listening. I receive rapturous applause. I bow and jump down from the chair. Run out into the hall and the applause continues. I run back in and bow again. I can see on the audience’s faces how proud they are. I ask Mum if you can do that when you grow up, be someone who thinks up poems and has an audience. ‘An author,’ Mum says. ‘That’s something you can do on the side.’ But I only want to be a writer, and maybe a joiner on the side. ‘You are a writer,’ Dad says. ‘Just you carry on.’

  I am six years old. I chat away, can’t stop. Repeat, explain, ask, make up, lie and bite my nails. I have long, curly fair hair and big dark eyes. Long eyelashes and roses in my cheeks. I want to cut my hair. Maybe you can decide for your
self when you’re seven. I have pale, almost see-through skin. I’m everywhere, high and low, fall and hurt myself all the time. I have a lot of scabs and scars for a princess. A pale brown plaster on one of my knees. Under the plaster, a deep wound. I’m practising riding my bike without holding the handlebars.

  It’s one of my last days in nursery school. I’m wearing a pretty pink dress that Marit has made. The classroom is shabby. The whole school is just temporary, barracks that were only going to be used for a year while they built a new one. They’ve been here for ten years now. The sun shines in through the dirty window and our drawings cover tears in the wallpaper. The room is not grand enough for someone like me whose name means God, but here I sit all the same.

  I know that there are secret ways out of what they call reality. And soon I will discover there are many. Soon I will have a friend for life. A friend and an enemy. Someone who wants to be good, but who always gets a lump in his throat that then bursts and he can’t stop crying. Someone who later in life will remind me that I was once little.

  ‘Who wants to play Espen the Ash Lad?’ the teacher asks. My hand is first in the air. We’re going to do a play for the parents before the summer holidays. Most of the others don’t want to play Espen the Ash Lad. They’re too shy to take the main role. I know that it’s mine. I already know all the lines off by heart.

  Once upon a time there was a ginormous kingdom. With a king and a queen and a princess who was old enough to get married. The problem was that no one could get her to stop talking. She answered every question with a retort. The king said that the man who could silence her would win both her hand and half the kingdom. There was also a poor family with three brothers. Naturally, Per and Paul wanted to try their luck. The youngest son, Espen, wanted to go too. Per and Paul laughed. You’re so dirty, you always sit by the fireplace and play with the ash, you haven’t got a chance with a princess.

  ‘Who wants to play the princess?’ Nearly all the girls want to play the princess. But not me. The teacher points at me, with my angel hair and princess dress. ‘Eli will be the princess,’ she says. ‘You don’t even need to dress up.’

  ‘I want to dress up,’ I reply. I want to wear torn clothes and a tartan cap. I want to have a worn-leather knapsack and pick up everything I find on my way through the forest. I want to be the one who renders the princess speechless with my ingenuity and imagination.

  I leave my body for a while. I spill out between all the children. See myself from the ceiling. When I leave my body like this, I pull faces and the others copy me and laugh. ‘Why do you do all those funny things with your mouth?’ I smile over and over again with my mouth without smiling. I can’t help it. My dad does the same.

  I twist my princess-clad body on the chair. Who decided that I look more like a princess than who I really am? It’s everyone at home who dresses me up and displays me to the world. Every family needs someone to put on display. I flop over my desk. Look up and see the teacher pointing at me.

  ‘You’re perfect, Eli. You always want the opposite, just like the princess.’ And that’s true. I don’t want to sit up at the front and wait while the Ash Lad shouts: ‘I found, I found something!’ ‘Ugh, throw it away!’ his brothers shout. ‘It’s useless!’ ‘That’s all very well, but you never can tell,’ says Espen, and puts it in his knapsack. I found, I found something, I think. One day I will have gathered so much that nothing will hurt any more. One day I will be able to decide everything myself and find a use for everything I’ve found.

  But now it’s the teacher who decides. I am the princess and sit straight-backed on a chair by the teacher’s desk in one of my prettiest dresses. I have a tiara in my hair and I’m waiting for suitors. The classroom is full of excited parents. They are big bodies on our small chairs. They watch with a smile. I start to pull faces. Blink. Smile again and again. Wait. I need a role where I talk all the time and am part of the plot from start to finish.

  Espen the Ash Lad starts at the back of the classroom. He whispers his lines. He fills his knapsack with made-up things that the teacher has put out on the floor. It’s all pretend. The boy who is playing the part is usually pretty cool. But not when the room is full of parents. It’s only me who takes it seriously. One by one, the boys lie down on their stomachs over the teacher’s desk, pull up their shirts and get three gentle taps with the pointer on their backs. The other children are shy and only do what they are told. It’s no big deal for them. It’s a story.

  Per and Paul reach me. They don’t know how to court me, so I have the last say. And then it’s Espen’s turn. We have rehearsed this so many times. He produces one strange thing after another from his knapsack and I ask what it is. He tells me and explains. But unlike all the rehearsals, I keep asking him questions when his knapsack is empty and he has nothing left to take out. The boy who is playing Espen is silent, like I, the princess, am supposed to be. Whereas I just keep talking. There’s an audience here today.

  I can’t stop. A completely new ending to the fairy-tale tumbles out of my mouth. I am not silent. The whole performance is ruined and parents who know the play off by heart don’t know when to applaud. The story ended ages ago. We’re going to get married and live happily ever after. The teacher has to start clapping to drown me out.

  Sometimes we swap places. I move. The princess is just a shell that I can creep out of. I creep in under the tartan cap. Not into the boy who’s playing him. But in his place. I am Espen the Ash Lad.

  A voice inside me says: ‘You are Espen. You’re not just Eli. You really are Espen the Ash Lad. And not alone in your body.’ Then I stop talking. I am silenced by a voice in my own head. One that decides. That takes over. Gets inside me. Under my skin, in my thoughts. He’s in my head. He starts to talk to me and he’s here to stay.

  He says that I’m him. He is six, like me, an imaginative lad, but very sad. The applause dies down. All the small actors bow and run out through the door into the corridor. Wait for more applause so they can run in again.

  I don’t run alone. Because now I am two. I see myself from the outside. See the tiara falling off and how we rush back into the classroom. I am Espen and I have the last say. I found, I found something.

  Espen pops up again evening after evening when I’m brushing my teeth. As soon as the water is running from the tap, there he is with his gentle voice. We can laugh at each other. There’s a grin on my face and no one knows why.

  I am beautiful and alive in my far-too-beautiful nightie. Espen is dirty round the mouth and funny. ‘Next time, you can play all the roles yourself,’ he says. And I spit out the toothpaste. ‘I want to be like everyone else,’ I say. ‘You’re not like everyone else. You’ve got me.’

  ‘I don’t know if I want you,’ I tell him. ‘If I want to be the only one who has you.’ My brother Torvald definitely doesn’t have a princess in his head like I’ve got Espen the Ash Lad.

  I turn off the water and Dad shouts: ‘Are you ready? Shall we read then?’

  Can I leave Espen now? In the bathroom. In the water. I can’t decide. I have to turn on the water again and then I hear him crying.

  ‘Why are you so sad?’

  ‘It’s you who’s sad. When the story is finished, the light will be turned out and you’ll wet the bed again. You’ll wake in the dark and grind your teeth. You’ll be frightened and unhappy. Your legs will shake and you’ll laugh in your sleep without being happy.’

  ‘Why?’ He doesn’t answer. I want to be like Torvald. Espen sobs his heart out. I take the hand towel and try to dry the tears. I can’t leave him now.

  ‘Come on,’ Dad shouts. ‘Otherwise there will be no story. Your brother’s already in bed.’

  When I turn on the water to do the washing up, Espen comes back. He’s still only six whereas I’m an adult now. He cries in his little boy voice and says: ‘Welcome to reality.’

  Should it not be welcome to madness? It’s the same thing. Daily life. A line from a poem in my head: Reality crashing
. Without reality born!

  Espen says: ‘I see you and will always see you.’ I realise that I should be saying that to him. ‘You’re inside me and will always be inside me.’ His tears fall on my warm hands in the water.

  He says: ‘Why don’t you say hello?’ ‘But I do. I say: “Yes, yes, yes,” out loud to myself. That means that I know that you’re there. I know that you want my attention and you get it.’ ‘You have to listen, you have to talk to me,’ Espen says. ‘Otherwise...’ ‘Otherwise what?’ ‘Otherwise you’ll break into a thousand pieces. You don’t always do what I say,’ he adds. ‘I do do what you say. Well, mostly.’

  But now I’m trying not to be disturbed all the time. Trying to learn to turn the voices on and off. Trying to learn not to do what they say, not to listen all the time. I push the voices out into my forehead. They can stay there and wait while I do other things.

  Espen comes and goes over the years. He normally comes with water. Either physically from its feel on my skin or with the sound from a tap, a shower, a river, a waterfall, the sea. I sometimes like him and his tears. I sometimes hate him because he disturbs me. Because he steals my time and closes me off from my life with other people.

  We’re sitting in the car, Dad, Torvald and me. I’ve got thirty-five kroner in my pocket. I’ve been saving for as long as I can remember, that’s how old I am. I’m going to buy a leather football. Dad suddenly stops by a shop that isn’t the sports shop. He goes in and comes back out. He wants to buy a tin of paint but needs five kroner. ‘Eli, can you lend me five kroner?’ he says, merrily. ‘Say no,’ Torvald tells me. ‘You’ll never get it back.’ I looked at Dad’s pleading face. But what about the football? He has the five kroner from my hand without me knowing how he got it.