Harry Mulisch - The Discovery of Heaven

Yet they had still not reached their objective. Quinten began walking along the water's edge under the branches. Holding on, complaining all the while, blowing petals out of his face, and once slipping and cursing and getting one shoe wet, Onno followed him to the other side. Once he had gone through another wall of flowers, he was standing at the edge of an open space, thickly overgrown with deep-green stinging nettles that reached to his waist.

"Not through there, surely?" he said.

But Quinten took him to a narrow, winding path that consisted of flattened, but in places already reemerging, stinging nettles. Because he himself was smaller than the devilish brood, he made Onno lead the way. With a sigh Onno tucked his trouser legs into his socks, picked up a branch, and with his squelching shoe went down the path, swiping furiously and with real hatred at every nettle that could threaten them.

"What are you doing to me?" he cried. "If only I'd never married!"

After thirty or forty yards they were suddenly confronted with a square gravestone at the foot of a small, pointed conical pillar.

"What on earth is this?" said Onno, perplexed. He squatted down so that his scratched head was at the same level as Quinten's. His forefinger passed over the carved letters in the stone: DEEP THOUGHT SUNSTAR. He looked at Quinten. "Shall I tell you something? There's a horse buried here. That's what they call racehorses." He got up. "Who on earth buries a horse? Horses go to the knacker's yard, don't they?"

And then something happened that after a moment's speechlessness moved him to hold Quinten in his arms and to run back with him through the stinging nettles in triumph, and through the flowers and past the geometrical dancing of tree trunks to the castle: Quinten extended his finger toward the pillar, leaned back a little, and said with a laugh: "Obelisk."

Just as in Noordwijk the light of the lighthouse swept in all directions, so the four seasons swept over Groot Rechteren each year in great waves. In fact Max only knew the changing of the seasons from Amsterdam: one day in February or on March first, the indescribable scent of spring when he came into the street in the morning, as indefinable as the decimals of π; the stuffy summer, when the city was filled with tourists, equally suddenly changed into the damp, bitter autumn; and then the pale winter in which the cobble-stoned streets and the walls suddenly seemed to express the inaccessible nature of the world — but really only in passing, noticed in short intervals between going from one interior to the next.

If in the city nature was soft background music, in the castle he was in the midst of a thundering concert hall with Quinten and Sophia. Spring and autumn came with a huge show; the summers were hotter and drier, the winters colder and whiter. The constant change, he had once said to Onno, was of course the source of all creativity; the monotony of nature between the tropics also led to cultural stagnation — the tropics were a constant steambath, always green, just as the polar regions were always white — but the temperate latitudes with their four seasons were hot and cold baths, which kept people awake. That was true in the city too, of course, but only in the country had it become clear to him. Onno had countered by saying that in the country it was perhaps a little too clear, since that annually repeating four-part pattern in turn retained a certain monotony, so that real creations always took place in town. He had seen that Onno refrained from inquiring whether his own creativity had increased in the countryside; but although he had no complaints about his work, he did not broach that topic of his own accord.

In Drenthe not only was the darkness deeper, the silence more silent, storms more violent, and the rainbow more vivid than in Amsterdam; even the rain was different. When there was a walk through the woods with Quinten on the program, it did not occur to Max to wait until it was dry, let alone take an umbrella with him. All three of them put on their green boots and their oilskins, pulled the hoods over their heads, and waded through the mud, while the shots of the baron and his friends rang out in the distance.

Once, when it was no longer raining, and it was still dripping from all the trees, Max said: "When it stops raining, the trees start raining."

"They're crying," said Quinten.

"So you're not a tree, then," said Sophia.

Quinten waved his arms, jumped with both feet into the middle of a puddle, and cried: "I'm the rain!"

When Onno was told of this pronouncement by Max one Saturday afternoon in Amsterdam, in the reptile house at the zoo — while Quinten was looking at a motionless snake, coiled like a rope on a quayside — he said that this might cause problems at school. Everything suggested that he undoubtedly had a more brilliant mind than the teachers, just as had been obvious in his own case.

Since Quinten had communicated his first word to Onno, together with his first laugh, it was really as though he had been able to speak much earlier but had not seen any point. Less than six months later there was no question of any backwardness; grammatically, he seemed to be advanced for his age. When he meant himself, he didn't talk about Quinten, or about Q, but said "I." He called Onno Daddy; Sophia, Granny, or Granny Sophia if he had to make a distinction with Granny To; and Max, Max.

He did, though, remain more silent than other children. General toddler's chatter, tyrannical orders, whining about what he wanted to have, chattering what he had just done or what he wanted to do: there was none of that kind of thing. Nor had he any need for playmates; it did not really give him any pleasure when Sophia took him to the playground or the swimming pool. Before he went to sleep he allowed himself to be read a fairy tale. Apart from that, he was satisfied with the castle and what was going on there; since he had deigned to speak, he was even welcome at Mr. Spier's.

He was never bored. He sat for hours in his tower room and looked at pictures — not pictures from children's books, let it be understood, but particularly the illustrations in. a book that Themaat had let him take upstairs, Giuseppe Bibiena's Architetture e prospettive. As though Quinten knew what the eighteenth century and the Viennese court were, Themaat had told him that the book had been made in the first half of the eighteenth century at the Viennese court. Particularly the etchings of imaginary theatrical sets fascinated him: grand baroque, superperspectivist spaces with colonnades, staircases, caryatids, everything laden with ornaments. He would like to walk through those places.

When he was four, Sophia wanted him to go to the nursery school in Westerbork: that would be good for the development of his personality; in her opinion he was becoming far too solitary like this. Onno and Max had never visited such an institution — it was not usual in the 1930s — and they were not very keen; but Sophia had her way. On his way to the observatory Max dropped him off at the nursery on the first day, and that very morning another toddler bashed Quinten's head with an earthenware mug. When this happened he had not cried and just looked at his attacker with such an astonished look in his deep blue eyes that the other child had burst out crying.

Afterward the teacher, who had not seen anything of what had happened in the dolls' corner, had told Quinten off because he had obviously done something to the little boy, since otherwise he would not be crying like that. Quinten had said nothing. When Max picked him up, bustled by mothers and their screaming offspring, the teacher had told him what had happened. Of course she did not want to say that Quinten was underhanded or spiteful, but perhaps he should be watched a little. Sitting in the backseat of the car, Quinten told him what had actually happened and Max believed him; at home Sophia also discovered a small wound under his black locks. After a telephone call to Onno, having been put through by Mrs. Siliakus, they decided to remove him from the institution immediately.