1. When I had written T. Singer it struck me that I couldn’t write any better than this, and if I wanted to, I could continue writing a book like that every year. And that I didn’t want.
My authorship is finished, basically, I said. What i write from now will be a bonus. Something completely different. A completely new author. Of course, this was just a cheap trick from my side to keep it going. But it worked. I avoided to write another T. Singer, something which would have been a total waste, and could writer other novels, that I otherwise wouldn’t have written, experiment on an uncommitted way, actually, what resembles freedom and is highly fascinating.
2. No. A new book stands full isolated from any other book I have written. It sounds …show more content…
I dont I’m that occupied with the gap between the generations in itself. But it is correct that many of my novels deal with persons with difficult relationships with their sons. I think it is because the father-son-relation is a fundamentally hierarchal relation, just like teacher-student, which also is a relation many of my novels deal with, is a fundamental hierarchal relation. In most of novels that are written, and which I assume will continue, most of the novels about father-son will be seen from the son’s perspective, and from the student’s perspective in the hierarchal relation teacher-student. With me it’s the opposite. Therein I reveal a secret: I am a Norwegian author who is not a son under an evil father’s influence, but a desperate father who lays awake waiting for his poor son to come home lonely again, after yet another night of defeat as a young man.
14. Difficult to answer. The four novels I wrote in the period 1992-1999 («Genanse og verdighet», «Elevate roman, bok atten», «Professor Andersens natt» og «T. Singer») is reasonable to view as a suite.
15. Yes, yes absolutely. I also like the follow up question: «Do you…» and say likewise: Yes. Yes, absolutely to that as well. But what do I mean by that? I do in fact fully agree, firmly, but what does that …show more content…
With the intensity we are back to the start again. With Gombrowicz. My first novel «Irr! Grønt» was a Gombrowicz novel, it built openly on Gombrowicz’s ideas and that I wasn’t accused for plagiarism was probably because Gombrowicz was a rather unknown author at that time, thus few reviewers knew it. And they who knew it though it was OK, this was how a modern author anno 1969 appear, one shouldn’t at all costs cling to ones golden pen, but learn openly and honestly, from others, that had made an impression. The fact that I had written a Gombrowicz novel made me thus to some sort of a 1968-er. But time went fast in these years. In 1971 I wrote my second novel, then I had become communist, maoist. It can seem highly paradoxical, that I then intended to serve the «good» cause (see my answer to question 4), and maybe it was. It was anyhow a fact that this was how it was. Perhaps it is there it stems from, the incomprehensible in my way of expressing myself. It is more than 30 years since it utopians occurred in my authorship. That says a
My authorship is finished, basically, I said. What i write from now will be a bonus. Something completely different. A completely new author. Of course, this was just a cheap trick from my side to keep it going. But it worked. I avoided to write another T. Singer, something which would have been a total waste, and could writer other novels, that I otherwise wouldn’t have written, experiment on an uncommitted way, actually, what resembles freedom and is highly fascinating.
2. No. A new book stands full isolated from any other book I have written. It sounds …show more content…
I dont I’m that occupied with the gap between the generations in itself. But it is correct that many of my novels deal with persons with difficult relationships with their sons. I think it is because the father-son-relation is a fundamentally hierarchal relation, just like teacher-student, which also is a relation many of my novels deal with, is a fundamental hierarchal relation. In most of novels that are written, and which I assume will continue, most of the novels about father-son will be seen from the son’s perspective, and from the student’s perspective in the hierarchal relation teacher-student. With me it’s the opposite. Therein I reveal a secret: I am a Norwegian author who is not a son under an evil father’s influence, but a desperate father who lays awake waiting for his poor son to come home lonely again, after yet another night of defeat as a young man.
14. Difficult to answer. The four novels I wrote in the period 1992-1999 («Genanse og verdighet», «Elevate roman, bok atten», «Professor Andersens natt» og «T. Singer») is reasonable to view as a suite.
15. Yes, yes absolutely. I also like the follow up question: «Do you…» and say likewise: Yes. Yes, absolutely to that as well. But what do I mean by that? I do in fact fully agree, firmly, but what does that …show more content…
With the intensity we are back to the start again. With Gombrowicz. My first novel «Irr! Grønt» was a Gombrowicz novel, it built openly on Gombrowicz’s ideas and that I wasn’t accused for plagiarism was probably because Gombrowicz was a rather unknown author at that time, thus few reviewers knew it. And they who knew it though it was OK, this was how a modern author anno 1969 appear, one shouldn’t at all costs cling to ones golden pen, but learn openly and honestly, from others, that had made an impression. The fact that I had written a Gombrowicz novel made me thus to some sort of a 1968-er. But time went fast in these years. In 1971 I wrote my second novel, then I had become communist, maoist. It can seem highly paradoxical, that I then intended to serve the «good» cause (see my answer to question 4), and maybe it was. It was anyhow a fact that this was how it was. Perhaps it is there it stems from, the incomprehensible in my way of expressing myself. It is more than 30 years since it utopians occurred in my authorship. That says a