An exclusive extract from the Nobel prize-winning authors final work describes how he and his wife imagined their farewell
At long last, having discussed our joint project many times, testing and rejecting various ideas at the kitchen table, we had reached a decision; the master carpenter Ernst Adomait sat across from us. The dialogue began over tea and cakes, hesitantly at first, but soon underway.
Adomait has worked for us for years. Hes built standing desks and bookcases, and various smaller items for my wife. We told him what we wanted, never defining it as our last will and testament. After appearing through the French window into the summery, windless garden, he agreed to take the job and stimulate the boxes. He suggested they be measured separately for duration and thicknes, and we agreed. He had no objection to our request for two different woods: pine for my wife, birch for me. The boxes would be of equal depth, but hers would be two metres 10 long and mine two metres. My box would be five centimetres wider, to match my shoulders.
When I said not tapered towards the foot, which was once criterion and may still be customary, he nodded in agreement.
I mentioned Wild West movies in the course of which this sort of plain carpentry grew in demand. My sketch on a newspaper napkin demonstrated unnecessary; the idea was clear enough. The boxes would be finished by autumn. We assured him we were in no hurry, but laced the conversation with clues about our combined age.
The style of the manages was still under discussion. I wanted something in timber. My wife favoured strong linen straps. In any case, there would be four on each side, to match the number of our children. The route the boxes would be sealed was left open for the time being. The dialogue was down-to-earth at first, and is dealing with practical details, but soon turned virtually cheerful. When I suggested defining the eyelids loosely on top after all, the weight of the earth will hold them in place or fastening them down with carpenters glue, Adomait permitted himself a promptly fading smile, then proclaimed pine and birch dowels more suitable.
A costly technique, he warned. Alternatively, bolts could be inserted in carefully drilled pits. I favoured hammering in old-fashioned nails with solemnly echoing blows at a dedicated signal. In the postwar years, I often put up gravestones in cemeteries while working as a stonemason, and once made a enter into negotiations with a gravedigger: five Lucky Strikes for a good dozen hand-forged coffin nails; subsequently, much afterward, they appeared as rusty assemblages in depicts, lying this style and that, a few crooked, each with its own shape. And every nail had a narrative to tell from its past. Sometimes I added dead beetles lying on their backs, and bones large and small. In one depict, nails and rope hinted at a death only humans could devise. Soft pencil, hard-line pen and ink drawings, all of them still lifes, a few found buyers intrigued by their cryptic nature.
Adomait seemed to follow my digressions more out of politeness than interest. Then we chatted about current affairs: the ludicrous rise in the price of petrol, the uncertain summer climate, the now-familiar insolvencies. I defined a bottle of mirabelle plum brandy beside the empty teapot and what remained of the cakes. Just a small glass, said the master carpenter, who still had to drive home in his truck.