Harry Mulisch - The Discovery of Heaven

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The Discovery of Heaven: краткое содержание, описание и аннотация

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This magnificent epic has been compared to works by Umberto Eco, Thomas Mann, and Dostoyevsky. Harry Mulisch's magnum opus is a rich mosaic of twentieth-century trauma in which many themes — friendship, loyalty, family, art, technology, religion, fate, good, and evil — suffuse a suspenseful and resplendent narrative.
The story begins with the meeting of Onno and Max, two complicated individuals whom fate has mysteriously and magically brought together. They share responsibility for the birth of a remarkable and radiant boy who embarks on a mandated quest that takes the reader all over Europe and to the land where all such quests begin and end. Abounding in philosophical, psychological and theological inquiries, yet laced with humor that is as infectious as it is willful, The Discovery of Heaven lingers in the mind long after it has been read. It not only tells an accessible story, but also convinces one that it just might be possible to bring order into the chaos of the world through a story.

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Without looking at Sophia, he got back in the car and drove slowly to the new low-rise service building, suddenly unable to stop talking. Agitatedly, occasionally half turning around, he told them that the camp had been set up by the Dutch government in 1939 for German Jewish refugees — the first Jewish camp outside Germany — but that the cost had been recovered from the Jewish community in the Netherlands. So that when the Germans arrived, they had the refugees neatly collected in one place. Subsequently, over a hundred thousand Dutch Jews were transported to Poland from this place — proportionately more even than from Germany itself. After the war Dutch fascists, of which Drenthe was full, were imprisoned in it. For a while it was a military camp, then Dutch citizens expelled from Indonesia were accommodated in it, and finally the Moluccans, who were now, reluctantly and with regular police intervention, being forced into more or less normal housing developments. In order to prevent their return to the camp, everything was deliberately being allowed to fall into disrepair. By establishing the observatory here, the government hoped that the name Westerbork would lose its unpleasant connotations.

When he had once said this to Onno, Onno had said that his eldest brother, the provincial governor of Drenthe, was bound to be behind it.

"Imagine the Poles setting up a conservatory in Auschwitz so that the name Auschwitz would sound less unpleasant! It would be hilarious if it were not so sad. You sometimes wonder if people really know the sort of world they're living in. Did you know, for example," he asked the engineer, "that Westerbork council sold a lot of those huts to neighboring farmers and sports clubs? All over Drenthe young soccer players are getting changed in those huts that once inspired terror. Business is business! But the things are Jewish property, and I've not read anywhere that the proceeds were transferred to the Jewish community. They are still being ripped off!"

He banged his steering wheel excitedly, and the engineer turned and exchanged a short glance with Sophia.

In the control building, on the other side of the line of telescopes, it was warm and there was the smell of fresh coffee. Smiling with surprise, the director of the installation, a technical engineer who had once worked for an oil company, appeared.

"We thought we'd never see an astronomer here." His dark-brown eyes met those of Quinten. "Well, well, the daughter of the house has come too!"

It took a while for Max to explain that Quinten Quist wasn't a daughter but a son, and not his but his friend's, and that Sophia Brons was not his wife or the mother of the child but the grandmother.

The director made a gesture indicating that it made no difference to him, and led them into the computer area. Sophia took off Quinten's coat and cap and handed him a little doll, which he haughtily ignored. Max shook hands with the technicians, who were sitting around at the monitors and whom he knew from Dwingeloo. He was shown his office and went with the director to the reception area, humming and groaning with the ventilators, isolated in a Faraday cage. When they returned to the central terminal, he stood for a while at the large semicircular window with a view of the mirrors and the huts.

When he remembered Sophia's presence, he turned around, pointed to the telescopes, and asked: "Do you know how they work?"

"I won't understand anyway."

"It's dead simple."

The row of reflectors, he explained, was aligned precisely from west to east, a hundred and forty-five yards apart, exact to within a fraction of an inch. Beyond that, however, it was a true straight line: over the distance of a mile the curvature of the earth had also been compensated for. Just imagine! And that accuracy was necessary, because the twelve mirrors had to be seen as one gigantic circular telescope with a diameter of a mile, the largest in the world. The idea was that because of the rotation of the earth, seen from space, the row of mirrors after a quarter of a day would be at right angles to its original position and after half a day in the reverse position; so by observing a radio source for half a day, you could achieve the synthesis that you wanted.

"Surely a child can understand that."

"I can hear everything you say, but it doesn't mean anything to me," said Sophia, while she held Quinten's wobbling head and wiped his mouth.

Max took a radio map off a desk and asked the technician: "What's this?"

He looked at it absentmindedly. "M 51."

"Here," said Max, and held it in front of Sophia. "This is what it looks like. The whirlpool nebula in the constellation of Canes Venatici. Thirteen million years ago."

But it was Quinten who took the paper in both hands and subjected the pointed mountains of waving lines of intensity to a close inspection.

"I'm curious to know what he's going to tell us," said the director with raised eyebrows.

When Quinten had given back the sheet, without crumpling it up or rubbing it on the ground in an uncoordinated way, Sophia put her arms around him and cuddled him and said: "What a strange child you are. You're just like your father."

The way in which she had behaved with Quinten from the first showed a completely different side of her nature, which had amazed Onno during his sporadic visits, but which Max recognized from the way she behaved with him at night — but then without saying a word. Quinten didn't like the hug and freed himself from it with dignity.

Max watched and, lost in thought, said: "I'm going outside for a while."

He put on only a scarf, stuck his hands in his pockets, and wandered onto the site. The air was still full of magically floating, glowing splinters. He needed to be alone for a few minutes, so that he could allow the change that he had just undergone to penetrate through him. There was a vague smell of Indonesian food; in an arid garden behind a hut a boy was repairing a bike. He remembered from the plans that a line of hospital huts had been demolished to make way for the mirrors. The camp was already no longer what it had been during the war, but even if everything were to disappear, it would still be the spot for all eternity. The house by the barrier, where he had just gotten out, had been the house of the camp commandant. It was still occupied; there were curtains and plants on the windowsill. Across the road along the railway line, which was once called Boulevard des Miseres, he walked in an easterly direction. When he had told Sophia just now about the exact west-to-east alignment of the instruments, his father's Polish triangle of Bielsko-Katowice-Krakow, a triangle with the same angles occurred to him, which also pointed directly eastward, with Auschwitz at its center. None of it meant anything, but that was how it was. And now he suddenly saw the map of Drenthe in front of him: an isosceles triangle with Westerbork camp at its center.

Here, on this road, perhaps on the spot where he was now walking, his mother had gotten into a cattle truck under the watchful eye of the camp commandant, after which the door was slid shut and the bolt fastened. Here her last journey had begun. He tried to reconcile that awareness with what he could see; but although the event had taken place on this spot, the two things remained as different from each other as a thought and a stone. The road was deserted, but the rails were empty, it smelled not of Jewish cooking but of nasigoreng. It was time, he thought, that tore everything to shreds. He looked around: the silent, majestic entry of the mirrors into the camp. From somewhere came the hammering of a woodpecker. He was sure of it — he belonged here; here was where he must spend his life.

He walked on, to the other end of the camp, where the rails ended in a decayed bumper. He crouched down and put his hand on the rusty iron, stood up and looked again at the row of antennas, all pointing to the same point in the sky. And suddenly he thought of the yellow star that his mother had had to wear on her left breast during the war. A star! Stars! All those tens of thousands here had worn stars; they had been forced into the wagons with stars on their chests, on their way from the small trapezoid to the great square. He remembered from the papers discussions on the question of whether there should be a monument to the deported in Westerbork. The survivors had been against it; everything should now be forgotten. But it was there anyway! What was the synthetic radio telescope finally but a monument, a mile in diameter, to the dead!

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