The Princess of Burundi - Kjell Eriksson [99]
When he had decided to head to the east side again he was stopped by a man wearing a Santa outfit who tried to interest him in a sleigh ride through the old town. Two hundred and ninety kronor for an hour. Vincent accepted a flyer and walked on. The dizziness was getting worse. He leaned against a wall and anxiety charged over him like a battalion on horseback. He took cover, put his arm over his face, and cried out into the wind.
The police came an hour later. The owner of an art gallery had alerted them. He had observed Vincent for a while before he called, had watched the snow falling around him. It was a striking image, or composition, the dark-clad man, a cap pulled down over his forehead, crouched against the wall as if he was afraid that the people walking by with their Christmas purchases would hit him, the gently falling snow—all this created an image of tangible authenticity. It was happening here and now. The gallery owner stood there in the warmth, with the miniatures on the wall, people came and went, Christmas greetings were exchanged.
This image was also a reminder of the timelessness of need. Through the ages thousands of needy people had wandered past on this street. They had come through the city gates to the north, fleeing hunger and punitive overlords, looking for something better. In times of pestilence they had gone in the opposite direction, driven away from the overcrowded and stinking city.
This could be any city in the Northern Hemisphere. The gallery owner saw the homeless man as a reminder of the limits but also the possibilities of contemporary art. A classic motif of genre painting; a challenge for contemporary video artists.
But these aesthetic ruminations eventually gave way to compassion. The gallery owner called the police and they turned up thirty minutes later. When he saw them he stepped out into the street. The officers seemed oblivious of any aesthetic dimension, seeing this only as a routine task of picking up a drunk, perhaps mentally ill, vagrant.
The cold had penetrated Vincent’s clothes. He had tucked his bare hands into his coat and his head had fallen toward his knees. One of the officers shook his shoulder. Vincent woke up, opened his eyes, and saw the uniformed policeman. The other officer was talking to the gallery owner.
Vincent had dreamed that he was in a country where there was snow on the ground all year round. A land of eternal ice where the people couldn’t spit at each other and had to make do with stiff grimaces when they wanted to express their displeasure. He had been standing on a street corner, selling lottery tickets that no one wanted to buy. He had gestured in vain. It wasn’t possible to speak, then the cold threatened to pierce your heart, and that was the end.
“Hey, buddy, how’s it going?” the officer asked kindly. He didn’t smell the usual stink of alcohol on this man, he wan’t one of their regulars. In a half hour the officer was scheduled to finish his beat and start his holiday. He was going up north to Ångermanland with his family.
Vincent moved his head stiffly, trying to dispel the dream and focus on the officer. Slowly the present overtook his consciousness. He saw the uniformed legs, heard the voice, felt the hand, and with lightning speed he had taken out his knife and thrust it upward in a slicing motion. The bread knife sped toward the neck of Jan-Erik Hollman, born in Lund, christened in Gudmundrå church, where his funeral would be held in a week or so, hit the artery, pierced the neck, and went out the other side.
His colleague, Maria Svensson-Flygt, did all she could to stop the bleeding but it was no good. In a few minutes Jan-Erik Hollman had bled to death on the icy sidewalk of Svartbäcksgatan.
Vincent leaned back against the wall as if he was completely unaware of what had just