Posts Tagged ‘My Struggle’
May 25, 2016 | by Tony Tulathimutte
Who gets to name an author’s book?
When I was readying my first novel for publication, it struck me that writers have far more control over what’s in their books than what’s on them—the cover art, blurbs, jacket copy, but especially the title, where the author’s concerns overlap with marketing ones. Deciding on a name for your life’s work is hard enough; the prospect of changing it at the eleventh hour is like naming your newborn, then hearing the obstetrician say, But wouldn’t Sandra look amazing on the certificate? It took a nine-month war of attrition to secure the original title of my book, Private Citizens.
The history of writers fighting for their book titles is extensive and bloody; so powerful is the publisher’s veto that not even Toni Morrison, fresh off her Nobel win, got to keep her preferred title for Paradise, which was War. (For her most recent book, God Help the Child, she favored The Wrath of Children.) Who knows why George Orwell’s editor thought Nineteen Eighty-Four was more commercially viable than The Last Man in Europe, or why the industry’s gerund fetish turned Helen Simpson’s Hey Yeah Right Get a Life into the insipid Getting a Life? Read More »
December 15, 2015 | by Ane Farsethås
Readers in the U.S. await the fifth volume of My Struggle—but in Norway, Karl Ove Knausgaard has moved on. With the money from Struggle’s sales, he’s established his own publishing house, devoted to promoting new talent and translating books by writers like Ben Marcus and Donald Antrim into Norwegian. Since his announcement, in 2011, that he would stop writing, he’s gone to publish four books of essays, and this fall he launched a new series: his “four seasons” quartet, On Autumn, On Winter, On Spring, and (as you might have guessed) On Summer. Presented as a “lexicon for an unborn child” and dedicated to the youngest of his four children, the quartet comprises several hundred short texts about objects (boots, chewing gum, plastic bags) and concepts (love, sex, war).
I recently caught up with Knausgaard in Oslo, where we discussed his new books and how he’s moving past the success of My Struggle.
You’ve described your new series as “personal encyclopedia of our close surroundings.”
It started as a completely private project. When we were expecting our daughter, I wanted to write something for her, a diary or letter, for her to read when she was older—about how things looked like around our home before she was born, what her family was like, our thoughts and habits. Around the same time I got an assignment from an American magazine to write a short text for each issue for a year. I ended up writing about ten things that made life worth living and ten things that made me want to shoot myself. The editor quit and the project was canceled before I turned it in, but in that brief form I’d found something that appealed to me. So I continued writing, about a new subject every day, and at some point the two projects merged. Read More »
May 19, 2015 | by Dan Piepenbring
I also bought a teach-yourself drums book, carved two sticks, placed some books around me in a circle on the floor, the one on the left was the hi-hat, the one next to it the snare drum, and the three books above the tomtoms. —My Struggle, Book 3
Reporting on a Karl Ove Knausgaard reading last summer, The Baffler wrote that “two young men kept comparing the event to a rock concert and complaining that they should have brought 40s … Knausgaard has become a rock star.” The writer himself has told of a German journalist “who compared me to a rock band. He said, the books don’t really have any focus, it’s just loose, it’s like just having some songs about drinking and they don’t have anything else … he saw pictures of me, he said, ‘You pose like a rock star.’ ”
But all this is soon to leave the realm of mere comparison. On Wednesday and Friday, as part of the Norwegian-American Literary Festival, Knausgaard will play the drums with his reunited college band, Lemen, thus sundering the flimsy membrane that separates him from full-on rock stardom. For this is what rock musicians have done throughout history: sundered membranes. Read More »
April 28, 2015 | by Ian MacDougall
Knausgaard’s fecal fixation.
“I’ve been reading Knausgaard,” I’ve heard on more than one occasion, over this Scandinavian-grade winter, from a friend across a barroom table. And a few minutes into the conversation, almost inevitably: “There’s this part in the third book about taking a shit … ”
It came as no surprise that my friends wanted to talk My Struggle, the Norwegian novelist’s opus on the everyday in six volumes. (The fourth is out in English translation today.) But the number of those friends who zeroed in on Knausgaard’s excretory musings was another matter.
And it’s not just My Struggle. The subject reemerged earlier this year when The New York Times Magazine published “My Saga,” Knausgaard’s two-part North American travelogue, in which a jaunt on the john in a Newfoundland hotel leaves him with a hopelessly clogged toilet. He recounts the aftermath at length. The episode was at the center of Knausgaard talk.
Lest readers think this focus is a factor of the company I keep—that I surround myself with prudish types offended by bathroom scenes, fetishists attracted to them, or the scatological-humor crowd—I direct them to James Wood, a critic at a venue no less proper than The New Yorker. In an interview with Knausgaard published in the Winter 2014 issue of The Paris Review, Wood says, Read More »
April 28, 2015 | by Scott Esposito
The fourth of Karl Ove Knausgaard’s six-volume autobiographical mega-novel, My Struggle, releases today. But Knausgaard writes in Norwegian, and most of us are reading My Struggle in English. For this we must thank the translator Don Bartlett, who has spent much of the past four years transposing Knausgaard’s Norwegian into an addictive, lively English.
I recently had a chance to discuss My Struggle with Bartlett, who, as the book’s translator, is surely one of Knausgaard’s closest, most dedicated readers on Earth. He has been over every single word in the first four books of My Struggle several times; he has weighed commas and clauses like gold; he has scoured for the right voice for Knausgaard in English. Bartlett, who lives in England, was able to tell me fascinating things about My Struggle—among them, some of the differences between how Knausgaard sounds in Norwegian and English, why Knausgaard seems to sound a tiny bit British in the U.S. editions of My Struggle, and his own theories about why the novels have proven such a success in English.
When did you first encounter My Struggle?
I went to a panel discussion in London with three Norwegian writers, led by someone I knew was clued up on Norwegian literature. Afterward, I talked to Karl Ove and asked him what he was working on. He said he had just written five—I think it was five—novels. I asked him what about. He said, with a laugh, Myself.Read More »
August 31, 2012 | by The Paris Review
Of the first volume of Karl Ove Knausgaard’s long, uneventful bildungsroman, My Struggle, James Wood wrote, “Even when I was bored, I was interested.” Wood is a man who knows how to pay attention to long, boring books, even at times enjoys them, so I began My Struggle with trepidation; it was misplaced. The book kept me up till two almost every morning for a week. All the good things Wood says about the novel seem to me true; but I loved it even when the narrator slipped into clichés, because they made him seem that much more real and singleminded in his storytelling. I don’t read Norwegian, but it’s hard to believe that the translator, Don Bartlett, could have made such vital, humane prose—over such a long stretch—unless he was hewing close to a work of genius. —Lorin Stein
“Here’s my brutal / many-minded / poem / to the new city,” are the first words of Manuel Maples Arce’s “City: Bolshevik Super-Poem in 5 Cantos.” The poem was first published in Mexico City in 1924, and the subtitle isn’t entirely ironic. Another stanza begins, “Russia’s lungs / blow the wind / of social revolution / in our direction. / Literary dick gropers / will understand nothing.” I first read about Arce in Savage Detectives, where he is one of the deities in Bolaño’s pantheon of the Latin American avant-garde, identified as “the father of stridentism.” I thought this was a made-up group, but it really existed (that’s them, in the photo). They gathered in a café called Multánime (“many-minded”), where a contemporary reports that “the waiters placed their order via radio and the Pianola played music from intercepted Martian concerts.” —Robyn Creswell