Septology

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From the very beginning of the play Namnetfrom 1995 ( The Name, 2002), we are presented with an emotionally charged everyday situation. A girl, young and pregnant, is waiting for the father of the unborn child, who has been delayed. The tension is immediately built up here due to this sense of uncertainty and its resulting fragmentary sentences. These disruptions moreover create a gulf between the girl’s longing for a new life with her child and her anxiety that she has been abandoned by the father. Fosse was twenty in 1979. In the spring of that year, he graduated from high school in Øystese. He had lived in a dorm there, and in the autumn of 1979 he moved to Bergen. He had no firm plan for his studies when he moved there, but he ended up with a master of arts, having studied sociology, philosophy, and literature. That first autumn in Bergen, Fosse also got a job at the newspaper Gula Tidend . He was a freelancer with a severe impediment: he really didn’t like talking to people, but he liked to write. He liked sitting in front of the huge computer, and ever since he has dedicated himself to writing. Fosse has on several occasions described himself as a poet at heart. He is a poet in everything he writes. For Fosse, the rhythm of a sentence is paramount; form and content are not separate, they are entwined and should have the same impact on the reader. The content is essentially a part of the form. It’s the methodology of poetry. Fosse has often noted that this manner of writing differs from that of many other writers of fiction: they do research. But for Septology , Fosse has worked like many of his colleagues. You once wrote in an essay that you must try and overcome language, move beyond it, so that there is no longer difference and one can reach God. Is it truly only without language that we can come closer to the divine? This interview was originally commissioned and published by the Norwegian quarterly magazine Syn og Segn , who have granted permission for it to be translated into English and published in Music & Literature .

The narrative keeps circling, inching slowly, as interior monologues sometimes do, and the way a painting might gradually appear from a cumulation of small brushstrokes.The effect is meditative, devotional, like the rhythm of the Christian liturgy…The reader may sometimes feel weary with the amount of words here too. But there is generosity. And persistence, like in the rituals of worship and devotion, is rewarded.’ Trilogien. –Oslo :Samlaget, 2014 [Innhold:Andvake; Olavsdraumar;Kveldsvævd. 1. utg.henholdsvis2007, 2012og2014] Frank Johnsen/Bergens Tidende: -Eg skriv aldri sjølvbiografisk – Intervju med Jon Fosse – Aftenposten 4. november 2020Born near Haugesund on Norway’s west coast in 1959, Jon Fosse is the author of dozens of novels, plays, poems, and children’s books, only a fraction of which have been translated into English. While his international reputation is as a playwright, in the U.S. he’s known almost exclusively for his brief, phantasmagoric fictions about lovers and wanderers— Trilogy, Morning and Evening, Aliss by the Fire, and recently the collection Scenes from a Childhood—that possess a propulsive, singular voice across translations.

Trilogy/ translated by May-BritAkerholt. –Victoria :DalkeyArchive Press, 2016. – Translation of:Trilogien Någon kommer attkomma :skådespel/ översättning av Svante Aulis Löwenborg. –Göteborg :Cinnober Teaterförening, 1998. – Originaltitel:Nokonkjemtilåkomme:skodespel Automberde lanuit/traduitdunorvégienpar Terje Sinding. –Belval:Circé, 2016. –Traductionde:Kveldsvævd Plays Six/ translated by May-BritAkerholt, Neil Howard. – Oberon, 2014. [IncludesRambuku, Freedom, Over There, These Eyes, Girl in Yellow Raincoat, Christmas Tree Song, and Sea]

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In October 2023, Fosse was awarded the Nobel Prize in Literature. [32] This made him the first Nynorsk writer to receive the prize [33] and the fourth Norwegian to win it, following Sigrid Undset, who won it in 1928. [34] Personal life [ edit ]

A NewName: Septology VI–VII/ translated by Damion Searls. –London :Fitzcarraldo, 2021. – Translation of: Eitnyttnamn:roman.SeptologienVI–VII No, but I dreaded it. I didn’t want to let myself go. And to write is to expose oneself to the unknown. There was already enough uncertainty. I don’t know. In the past, sixty was considered old. That sort of thing has changed a bit. What was once seventy is today eighty, and a sixty-year-old is perhaps not an old man anymore. In fact, I don’t mind becoming old, but I have had some good friends who have suffered with severe health issues and it’s horrible to witness. But it’s nice to have some tranquillity, to have lived a long time and done many things. I have never had it as good as I do now. There will probably be more plays, I think, but it’s not for certain. I look at writing as a gift, and one can’t be certain if one will receive more gifts. But nonetheless it’s clear that I want to take a break between plays, I don’t want to write at the same speed as I once did. Torsheim, Oddvar, Ulyzes : frå skissebøkene/ Oddvar Torsheim i samtale med Jon Fosse. – Leikanger : Skald, 2019

Teaterstykke 2. –Oslo :Samlaget, 2001 [Einsommars dag ;Draumomhausten; Medan lyset går nedogalt blir svart ;Besøk; Sov duveslebarnet mitt ; Vinter ;Ettermiddag] I used to be a heavy smoker but stopped it and started using Swedish snuff. And I use a lot of it, almost one box each day. Brantley, Ben (26 October 2012). "Tides Come and Go, but She Won't". The New York Times. ISSN 0362-4331 . Retrieved 7 October 2023. Eldre kortare prosa med 7 bilete av Camilla Wærenskjold (1998). Older Shorter Prose with 7 Pictures of Camilla Wærenskjold [48]

I started writing the novel there, during a couple of very hot summer weeks, and the rest of it I wrote in a small Austrian town on the outskirts of Vienna. I started writing around four or five in the evening and wrote until nine in the morning. L’autre nom: Septologie I-II/traduitdunorvégienpar Jean-BaptisteCoursaud. –Paris :ChristianBourgois, 2021. –Traductionde: Det andre namnet Works in German In 1969, Jon Fosse was ten years old. That was before he had long hair, before he was rebellious, before he started to hate school, and before he found writing at the age of twelve. At that time, he lived in Fosse, which is right before one arrives at Strandebarm if one drives along the Hardangerfjord. Jon Olav, as he is actually named, grew up on a smallholding right by the fjord and the waves. His grandparents lived in one of the houses on the farm, while Jon Olav, his parents, and two sisters lived in the other. His father was a manager of Strandebarm Cooperative, his mother was a homemaker. Jon Olav spent some time at the cooperative with his dad, but he wasn’t a loner nor a voracious reader. There were kids in every household in Fosse, and the children were free to roam about in the landscape, in their own fantasy world and on the fjord. It was carefree and adventurous, a nice and safe childhood between the house of prayer and the youth club. Fehr, Drude von der, Dramatikk og metafysikk: Jon Fosse og menneskenes vilkår i verden. – Oslo : Vidarforlaget, Solum Bokvennen AS, 2021 I had severe delirium and alcohol poisoning. I have read that thirty percent of people die from it if they don’t get treatment. Thirty percent die with treatment.

Septology

Fosse intuitively — and with great artistry — conveys ... a sense of wonder at the unfathomable miracle of life, even in its bleakest and loneliest moments.’