Posts Tagged ‘Karl Ove Knausgaard’
August 12, 2014 | by Je Banach
Keeping mum in the age of spoilers.
For about four months I have kept a secret. Because few people knew that I had it, the difficulty wasn’t in resisting others’ demand to know but in quashing my own desire to tell. Still, the challenge was significant. The value of a secret seems to increase for the holder in proportion to the level of interest it will attract from its potential audience, and in this regard my secret seemed quite valuable.
In April, after several years writing reading-and-teaching guides for various publishers, I was hired to work on Knopf’s guide to the forthcoming English translation of Haruki Murakami’s latest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage. A few weeks later, I found the galley at my doorstep. The only information I received about the book, other than its title, came in the form of a brief note of encouragement: The novel would be much shorter than 1Q84, the nine-hundred-something-page tome that preceded it. One other fact, recovered by way of a quick Google search: Colorless Tsukuru sold more than a million copies during its first week on sale abroad.
We often come to a book already knowing something about it—we’ve seen it mentioned online. My experience with the Murakami novel was entirely different. It was chosen for me; I knew nothing about it. No one I knew had read it or recommended it or tweeted about it. Because I was working from an early galley, there was neither cover art nor jacket copy to inspire any preconceptions or early opinions. Though it had been published internationally, there was, quite remarkably, little information to be found online. My copy of the novel was—fittingly, given its title—without color. There were only the black words on the white page and my thoughts about them. And so I read what will undoubtedly become a popular work as if it were obscure. Read More »
July 24, 2014 | by Dan Piepenbring
- Profiling William T. Vollmann: “Although Vollmann these days sports the punctilious mustache of a maître d’, he still resembles the baby-faced boy wonder readers first encountered in his shocking late ’80s author photo, in which he affectlessly held a pistol to his own head … Along with the Internet and e-mail, Vollmann also foregoes cell phones, credit-card use, checking accounts, and driving.”
- On David Mitchell’s Twitter story, “The Right Sort”: “The effect of reading was not feelings of disjunction and separation but rather one of surprising connection, a sense of disappearing into the scroll and the vortex of the story.”
- From the Guardian, July 24, 1844: “a most lamentable difference exists between the witchcraft of modern romance and the witchcraft of ancient superstition.”
- “Is there any consistent relationship between a book’s quality and its sales? Or again between the press and critics’ response to a work and its sales? … As of a few days ago UK sales of all three volumes of Knausgaard work in hardback and paperback had barely topped 22,000 copies … In the US, which has a much larger market, that figure— total sales of all three volumes (minus e-books)—stood at about 32,000.”
- “As Amazon gains market share, we can no longer abide its self-proclaimed conceit that unfettered growth is invariably in the consumers’ interest … Amazon ought no longer to be permitted to behave like a parasite that hollows out its host. A serious Justice Department investigation is past due.”
July 21, 2014 | by Dan Piepenbring
- Fact-checking the Knausgaard craze: Have Norwegian workplaces really instituted “Knausgaard-free days” in response to the success of My Struggle? The people demand the truth!
- On clichés and their complications: “An expression is much more likely to be regarded as a cliché if it has typical or frequent use in contexts where it doesn’t apply very well (by being imprecise, misleading, or inaccurate, for example). Take the noun phrase best-kept secret … As a few examples will show, things that are dubbed best-kept secrets are in fact often not secret at all, and it is rarely specified, sometimes not even implied, in what sense they are ‘kept.’ ”
- Remembering James Garner: “Garner wasn’t an actor who ‘reached,’ per se. He wasn’t doing accents or putting on prosthetics or trying to make himself over into someone he wasn’t. Movie and TV producers hired him to be James Garner.”
- Is Amazon killing writing, or is it the market? “We are witnessing a bad Hollywood remake of a bad Hollywood remake of the Content Wars of the 1990s and 2000s … The plot remains the same: The traditional publishers of content defend their business models against the assault of the Internet. There’s some suspense, and then the Internet wins.”
- Weird Al’s usage wars: “I purposely left a split infinitive at the end of my song … to be ironic, and also to see how many online grammar pedants it would annoy.” But then he didn’t realize that spastic is a slur in the UK …
June 11, 2014 | by Dan Piepenbring
- Knausgaard responds to his newfound celebrity …
- … and the French shrug at that celebrity. “Knausgaard gives us one striking example of what looks again like a very French phenomenon … The list of French books in the same vein of meticulous self-analysis is nearly infinite … Let’s hope that Knausgaard’s unexpected success will make them rethink their hasty judgment and consider the French production with fresh eyes.”
- Is John Wilkes Booth’s diary in a forgotten Brooklyn subway tunnel?
- The complex, semitragic history of Entertainment Weekly and ent-fo, i.e., “entertainment information”: “The plan was highly digestible reviews intended to keep the bourgeoisie in touch … They wanted to assist ‘the aging baby boomer who still wants to be plugged in,’ using a scale (A to F) that reflected the ‘universal experience’ of school grades. If you read EW, the logic went, you were saving yourself from your own bad decisions: The magazine’s pitch for subscribers even asked potential readers to weigh the $50-dollar yearly rate against ‘the cost of a bad evening’s entertainment.’”
- Commentators in the nineteenth century argued that chess, being so addictive, would turn our nation’s youths into bloodthirsty maniacs: “The great interest taken in this warlike game—the importance attached to a victory—and the disgrace attending defeat, are exemplified in numerous instances … It is said, that the Devil, in order to make poor Job lose his patience, had only to engage him at a game at Chess.”
May 28, 2014 | by Karl Ove Knausgaard
When I consider the neck, the first things that spring to mind are guillotines, beheadings, executions. Which does seem a little strange, since we live in a country where executions do not take place, there are no guillotines, and beheading is thus an entirely marginal phenomenon in the culture. Nevertheless, if I think neck, I think, chop it off.
This may simply be because the neck leads a hidden existence in the shadow of the face, that it never assumes a place of privilege in our thoughts about ourselves, and only enters the stage in these most extreme situations which, though they no longer occur in our part of the world, still proliferate in our midst, given the numerous decapitations in fiction. But I think it runs deeper than that. The neck is a vulnerable and exposed part of the body, perhaps the most vulnerable and exposed, and our experience of this is fundamental, even without a sword hanging over us. In this sense, it is related to the fear of snakes or crocodiles, which may as well appear in people living on the Finnmarksvidda plateau as in Central Africa, or for that matter, the fear of heights, which can lie dormant in people who have never seen anything other than plains and sand dunes, lowlands and swamps, fields and meadows.
Fear is archaic, it is embedded in the body, in its purest form untouchable to thought, and it is there to keep us alive. There are other vulnerable parts of the body, the heart being perhaps the most obvious, but when I think of the heart, I don’t think of it being pierced by a javelin or a spear or a bullet; that would be absurd. No, the heart fills me with thoughts of life and force, and if vulnerability and fear are involved, it is no more than a mild concern that one day it will simply stop beating. This must be because the heart belongs to the front of the body, the front we turn to the world, and always keep in check, since we can see what lies ahead of us, we can see what is coming, and take our precautions. The heart feels safe. That the neck is in fact just as safe, since we live in a world where people no longer carry swords, makes no difference to the feeling of vulnerability, it is archaic and closely linked to the fact that the neck belongs to the reverse side of the body, it is always turned toward what we cannot see and cannot control. The fear of everything we cannot see converges on the neck, and if in earlier times it used to be associated with physical violence, the most pressing association now is its figurative sense, which lives on in the social realm, in expressions like being attacked from the rear, getting it in the neck, watch your back, having eyes in the back of your head, being spoken about behind your back. Read More »
May 23, 2014 | by The Paris Review
Karl Ove Knausgaard’s My Struggle—judging by the half that’s been translated into English—is a tough book for a critic to grapple with: a six-volume autobiographical novel that can spend fifty pages describing a teenage beer run or a second-grader’s first day at school. The book was a sensation when it appeared in Norway, five years ago; since then it has fascinated (and puzzled) many readers in America, from James Wood and Zadie Smith to Jonathan Lethem. Volume Three is my favorite so far, though no doubt the effect is cumulative: I’ve never read such a vivid depiction of ordinary child abuse—the legal, non-sexual kind—from a child’s point of view; I have never seen a writer evoke the world of child’s play so vividly, or the view from the back seat of a car on a long drive. Not everyone feels the love. In The Nation, the irascible William Deresiewicz dismisses My Struggle as a “giant selfie,” wishes Knausgaard wrote more like John Updike or Saul Bellow, and chalks up the enthusiasm of his fans to narcissism: “The spectacle of a fellow author’s self-revelation . . . has obvious professional significance.” It’s rarely a good sign when a reviewer vents his spleen on other readers. For a corrective, see Ben Lerner in the London Review of Books. Lerner notices all the same things as Deresiewicz—Knausgaard’s use of cliche, his digressions, his seeming lack of form or invention—then tries, brilliantly and persuasively, to explain why they work. Lerner places My Struggle in a long tradition of novels at war with novelistic convention, a tradition that he associates with the avant garde and that others might call realism itself. Agree with it or not, this is actual criticism. As Lerner writes: “It’s easy to marshal examples of what makes My Struggle mediocre. The problem is: it’s amazing.” —Lorin Stein
On Wednesday night, I had the great pleasure of seeing an interview with D’Angelo, perhaps the most gifted, elusive artist working in R&B—he’s ascended into the pantheon with Sly Stone and Prince, visionary but inscrutable. With 2000’s Voodoo, D’Angelo made what remains the definitive soul record of the past fifteen years, a languid, earthy tour de force that borrows in equal measure from the church and the street. Since then, he hasn’t released a thing; he’s scarcely even performed in public. So his appearance on Wednesday had a sense of anticipation: would he announce a new album? He didn’t, but he was such a gracious, remarkable, casual speaker that it didn’t matter. NPR has posted a transcript of the conversation, which was held before a sold-out crowd at Brooklyn Museum. It touches on his adolescence in Richmond, Virginia; his painstaking, deeply hermetic recording process; and his gospel-inflected approach to songwriting. Nelson George, the interviewer, put it best when he told D’Angelo, “You’re one of the few people who has mystique, you know that. I mean in the age of TMZ and all that stuff … there’s an aura still about your career. It’s very unusual today for anybody to have any mystery left.” —Dan Piepenbring
I recently unearthed a 1999 LRB review by Edward Said of a tennis anthology edited by the novelist Caryl Phillips. When I think of tennis, I don’t think of Said (nor do I imagine Phillips, for that matter)—all the more reason to give it my attention. I also have a vested interest in tennis. My father grew up in Forest Hills, Queens, and played near the West Side Tennis Club (the club wouldn’t let Jews join, but he did see early professionals such as Rod Laver, Ken Rosewall, and a sixteen-year-old Chris Evert play there); his father played competitive tennis into his early nineties (the pool of players in his age group was quite small, as you might imagine); and I grew up watching tennis matches on television with my parents and trying to learn the sport myself. Though I only sometimes watch Wimbledon or the US Open now, I can tell the stakes have changed. As Said bemoans, tennis has largely lost its amateur class, and its league of professional players are “technical specialists” ruined by commercial interests. Federer is lovely to watch, but his recent dominance of the game was boring. The women’s game, Said points out, retains its “human pace” and “inventiveness.” That no single woman dominates the sport makes the matches more fun to watch, more exciting, more … sporting. —Nicole Rudick
In 1934, Oscar Reutersvärd pioneered the modeling of “impossible objects,” two-dimensional figures that project a three-dimensional object when viewed from a particular direction. The puzzle game “Monument Valley,” available on both iOS and Android, is built on this optical illusion—a sort of architectural Sudoku. It allows the player to interact with the isometric environment of dead-end paths and trick doors, moving the game’s protagonist, Ida, through gaps that seem to defy logic. The game is one of the most beautiful I’ve ever played. It’s like, as many have noted, an M. C. Escher drawing brought to life. The game designer Ken Wong told Wired, “We hope players will stay engaged for the same reasons they might enjoy a walk through a museum or an art gallery.” —Justin Alvarez Read More »