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Septology

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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.

I’m very afraid of using the word “God.” I rarely do it and never when talking about my own writing. God is far too much for me to talk about. [ Laughs.] When I manage to write well, there is a second, silent language. This silent language says what it is all about. It’s not the story, but you can hear something behind it — a silent voice speaking. It’s this that makes literature work well for me. I’m to blame, by the way, for this term “slow prose.” [ Laughs.] I wanted to contrast it to the plays. My plays are rather short, and I always needed a strong intensity to work with. You cannot dwell on things for an extended period — theater isn’t like that. But with my prose, I wanted to give each and every moment the time I felt it needed. I wanted the language to flow in a peaceful way. I think I managed to do that in S eptology. Brantley, Ben (26 October 2012). "Tides Come and Go, but She Won't". The New York Times. ISSN 0362-4331 . Retrieved 7 October 2023. The translation by Damion Searls is deserving of special recognition. His rendering of this remarkable single run-on sentence over three volumes is flawless. The rhythms, the shifts in pace, the nuances in tone are all conveyed with masterful understatement. The Septology series is among the highlights of my reading life.’ I met Jon Fosse at the café Dagny’s at the end of St Olav’s street in Oslo. And before we continue, I should explain who I am⁠—I have been Jon Fosse’s editor at Det Norske Samlaget, a Norwegian publishing house, since 2012. When Fosse turned fifty in 2009, my book on him⁠—Jon Fosse. Poet på Guds Jord (Jon Fosse: Poet on God’s Earth )⁠—was published. I work closely with Jon Fosse and know him well.Lenom; L’enfant/traduitdunorvégienpar Terje Sinding. –Paris :L’Arche, 1998. –Traductionde:Namnet ;Barnet Trilogie/übersetztvonHinrichSchmidt-Henkel. –ReinbekbeiHamburg :Rowohlt, 2016. – Originaltitel:Trilogien 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 . a b H.H. Andersson, Jon Fosse i teaterhistorien, kunstinstitusjonen og markedet, University of Oslo, 2003 Rafis, Vincent, Mémoire et voix des morts dans le théâtre de Jon Fosse. – Dijon : Presses du réel, 2009

The Nordic Council Literature Prize had a positive effect, and in his acceptance speech Fosse declared that it came at a fortunate time as he intended to focus on writing only prose for the foreseeable future. For a few years, Fosse had been reluctant to write, but by the summer of 2015, he had decided to start again. He received unlikely help from a heatwave: “A bit of rain would be nice!’”was Fosse’s usual rejoinder to those enjoying the summer sun. Fosse isn’t one for shorts or going on beach holidays. In the summer of 2015, Fosse went to stay at the Château de Brangues in France, the castle of the French poet Paul Claudel. He had been invited by one of his descendants; one of Fosse’s translators had married into the family. He had a plan to begin again with prose, and the castle was an opportunity to take a break from daily life. The version of Asle who has found God (which he gently insists is “knowledge” not “belief”) provides some of the book’s most ecstatic, probing scenes. In one passage Christ’s nativity is alluded to almost in passing; a well-worn story, yet one which Fosse somehow makes refreshingly original. Similarly, his descriptions of young Asle’s growing awareness of colour and its endless variations prefigure Asle the mature artist. The overall theme of a “shining darkness”, referring to Asle’s painting, his losses and his faith, is used to illuminate the fugue state of being. Fosse’s fusing of the commonplace and the existential, together with his dramatic forays into the past, make for a relentlessly consuming work: already Septology feels momentous. There was a heatwave while we were there. It was so hot when one went outside, it felt like being met by a wall of heat. He touches you so deeply when you read him, and when you have read one work you have to continue.... What is special with him is the closeness in his writing. It touches on the deepest feelings that you have – anxieties, insecurities, questions of life and death – such things that every human being actually confronts from the very beginning. In that sense I think he reaches very far and there is a sort of a universal impact of everything that he writes. And it doesn’t matter if it is drama, poetry or prose – it has the same kind of appeal to this basic humanness.’ There’s this one sex scene that Septology’s narrator is witnessing — or, rather, imagining. Do you yourself ever feel like a voyeur of your own mind? Have you ever seen things in your own mind that you felt you shouldn’t be seeing?Vincent Rafis, Mémoire et voix des morts dans le théâtre de Jon Fosse, Les presses du réel, Dijon, 2009. Many of Fosse's works have been translated into Persian by Mohammad Hamed, and his dramatic works have been performed on the main stages in Tehran, Iran. [21] [22] Six [23] of Fosse's plays have been translated into American-English by interdisciplinary artist Sarah Cameron Sunde, who also directed their American debut productions in New York City and Pittsburgh, PA. The translated works which have been produced include Night Sings its Songs [24] (2004), deathvariations [25] (2006), SaKaLa [26] (2008), A Summer Day [27] [28] (2012), and Dream of Autumn [29] (2013). A long time ago, a young boy pedaled with difficulty along the country road on a blue ladies’ bike, his long, dark hair fluttering behind him in the wind. Everyone in the village knew that “the kid with the hair” was Jon Olav Fosse. He might have been heading to band practice with a guitar case in hand. Or maybe he was on his way home to the family’s smallholding, not too far from the fjord and the waves. There might have been a slight drizzle on the air. In Strandebarm, one either bikes in towards or out along the fjord, on a road that winds through farmland, past smallholdings, a church, a youth club, and a bus stop. Jon Fosse grew up in Fosse, Strandebarm, during the 1960s and the first half of the 1970s. He had a bike, a guitar, felt like an artistic soul, and had the longest hair that anyone in Strandebarm had ever seen on a boy.

Oltermann, Philip (5 October 2023). "Jon Fosse's Nobel prize announces his overdue arrival on the global stage". The Guardian.

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Fehr, Drude von der, Dramatikk og metafysikk: Jon Fosse og menneskenes vilkår i verden. – Oslo : Vidarforlaget, Solum Bokvennen AS, 2021 Marivaux, PierreCarlet…, Kjӕrleiken overraskarigjen/medforfatter,oversetter: JonFosse. – Det NorskeTeatret, 2009 a b Kvamme, Kjell (16 November 2013). "Jon Fosse er blitt katolikk: Som å kome heim". Vårt Land (in Norwegian). Archived from the original on 19 November 2013 . Retrieved 5 October 2023. 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.

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. Morgen und Abend/ Georg FriedrichHaas ;libretto by Jon Fosse. Opera performed at the Royal Opera House, London on 13 November 2015 Hva er det med Jon Fosse?". www.bt.no (in Norwegian Bokmål). 8 May 2005 . Retrieved 5 October 2023.I write in a rare language, New Norwegian. It is written by only approximately half a million but is understood by everyone who has Norwegian as their language, and even for those who have Danish and Swedish. From a certain perspective the Scandinavian languages are one language, since they are mutually understandable, but they are written in four versions, two of them Norwegian. I am the Wind/ English language version by Simon Stephens. –London :Oberon, 2011. – Translation of:Egervinden

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