Search results for ""Author Jon Fosse""

Asle is an ageing painter and widower who lives alone on the southwest coast of Norway. His only friends are his neighbour, Asleik, a traditional fisherman-farmer, and Beyer, a gallerist who lives in the city. There, in Bjorgvin, lives another Asle, also a painter but lonely and consumed by alcohol. Asle and Asle are doppelgangers - two versions of the same person, two versions of the same life, both grappling with existential questions. In this second instalment of Jon Fosse’s Septology, ‘a major work of Scandinavian fiction’ (Hari Kunzru), the two Asles meet for the first time in their youth. They look strangely alike, dress identically, and both want to be painters. At art school in Bjorgvin, Asle meets and falls in love with his future wife, Ales. Written in ‘melodious and hypnotic slow prose’, I is Another: Septology III-V is an exquisite metaphysical novel about love, art, God, friendship, and the passage of time.

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Jon Fosse is the winner of the Nobel Prize for Literature 2023. Jon Fosse's work includes novels, poetry, essays and books for children. He is one of the most produced playwrights in Europe and his plays have been translated into more than forty languages. Methuen Drama publishes Plays One (Someone Is Going to Come, The Name, The Guitar Man, The Child), Plays Three (Mother and Child, Sleep my Baby Sleep, Afternoon, Beautiful, Death Variations), Plays Four (And We'll Never Be Parted, The Son, Visits, Meanwhile the Lights Go Down and Everything Becomes Black), Plays Five (Suzannah, Living Secretly, The Dead Dogs, A Red Butterfly's Wing, Warm, Telemakos, Sleep), Nightsongs, The Girl on the Sofa and I Am The Wind. Fosse was made a Chevalier of the Ordre national du Mérite of France in 2007 and received The International Ibsen Award in 2010.

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A girl sits on a sofa, not knowing what to do with herself. She argues with her mother and envies her older sister. She also longs for her absent father, a seaman. A middle-aged woman paints a portrait of herself as a young girl, sitting on a sofa, but she's beginning to doubt her artistic ability. Still at odds with her sister and her mother and haunted by her dead father, she's unable to shake the continuing presence of the past in her life -

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If there's any metaphor I would use for the act of writing, it would have to be listening,' says Jon Fosse in A Silent Language, the lecture he delivered after being awarded the 2023 Nobel Prize in Literature. When he writes, Fosse explains, he listens for texts that exist somewhere outside of himself in order to transcribe them before they disappear. With reverence and humility, Fosse traces his relationship to writing and celebrates the capacity of language to embrace the mystery, complexity and existential uncertainty of the human experience. It is only in the silence that you can hear God's voice,' he says, offering a key to his beloved works of drama and fiction. Maybe.'

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The wind gathers, rising up suddenly. Two men on a fragile boat, a trip to sea – a few drinks, a bite to eat – when one of them decides to push on to the open ocean. Suddenly there they are: among the distant islands, the threatening fog and gathering swell of the sea, bound together on an odyssey into the unknown. Jon Fosse’s work includes novels, poetry, essays and books for children. He is one of the most produced playwrights in Europe and his plays have been translated into forty languages. Oberon Books publishes Nightsongs and The Girl on the Sofa, and his other plays in the following collections: Plays One, Plays Two, Plays Three, Plays Four and Plays Five. Plays Six is forthcoming in 2012. Oberon Books also publishes The Luminous Darkness: The Theatre of Jon Fosse by Leif Zern (translated by Ann Henning-Jocelyn).

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What makes us who we are? And why do we lead one life and not another? The year is coming to a close and Asle, an ageing painter and widower who lives alone on the southwest coast of Norway, is reminiscing about his life. His only friends are his neighbour, Åsleik, a traditional fisherman-farmer, and Beyer, a gallerist who lives in the city. There, in Bjørgvin, lives another Asle, also a painter but lonely and consumed by alcohol. Asle and Asle are doppelgängers – two versions of the same person, two versions of the same life, both grappling with existential questions about life, death, love, light and shadow, faith and hopelessness. Written in melodious and hypnotic ‘slow prose’, The Other Name: Septology I-II is an indelible and poignant exploration of the human condition by Jon Fosse, ‘a major European writer’ (Karl Ove Knausgaard), in which everything is always there, and past and present flow together.

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A man starts driving without knowing where he is going. He alternates between turning right and left, and finally he gets stuck at the end of a forest road. Soon it gets dark and starts to snow, but instead of going back to find help, he ventures, foolishly, into the dark forest. Inevitably, the man gets lost, and as he grows cold and tired, he encounters a glowing being amid the obscurity. Strange, haunting and dreamlike, A Shining is the latest work of fiction by Jon Fosse, ‘the Beckett of the twenty-first century’ (Le Monde).

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A man starts driving without knowing where he is going. He alternates between turning right and left, and finally he gets stuck at the end of a forest road. Soon it gets dark and starts to snow, but instead of going back to find help, he ventures, foolishly, into the dark forest. Inevitably, the man gets lost, and as he grows cold and tired, he encounters a glowing being amid the obscurity. Strange, haunting and dreamlike, A Shining is the latest work of fiction by Jon Fosse, ‘the Beckett of the twenty-first century’ (Le Monde).

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What makes us who we are? And why do we lead one life and not another? Asle, an ageing painter and widower who lives alone on the southwest coast of Norway, is reminiscing about his life. His only friends are his neighbour, Åsleik, a traditional fisherman-farmer, and Beyer, a gallerist who lives in the city. There, in Bjørgvin, lives another Asle, also a painter but lonely and consumed by alcohol. Asle and Asle are doppelgängers – two versions of the same person, two versions of the same life, both grappling with existential questions about death, love, light and shadow, faith and hopelessness. Jon Fosse’s Septology is a transcendent exploration of the human condition, and a radically other reading experience – incantatory, hypnotic, and utterly unique.

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Asle is an ageing painter and widower who lives alone on the southwest coast of Norway. In nearby Bjørgvin another Asle, also a painter, is lying in the hospital, consumed by alcoholism. Asle and Asle are doppelgängers – two versions of the same person, two versions of the same life, both grappling with existential questions. In this final instalment of Jon Fosse’s Septology, the major prose work by ‘the Beckett of the twenty-first century’ (Le Monde), we follow the lives of the two Asles as younger adults in flashbacks: the narrator meets his lifelong love, Ales; joins the Catholic Church; and makes a living by trying to paint away all the pictures stuck in his mind. A New Name: Septology VI-VII is a transcendent exploration of the human condition, and a radically other reading experience – incantatory, hypnotic, and utterly unique.

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In her old house by the fjord, Signe lies on a bench and sees a vision of herself as she was more than twenty years earlier: standing by the window waiting for her husband Asle, on that terrible late November day when he took his rowboat out onto the water and never returned. Her memories widen out to include their whole life together, and beyond: the bonds of family and the battles with implacable nature stretching back over five generations, to Asle's great-great-grandmother Aliss. In Jon Fosse's vivid, hallucinatory prose, all these moments in time inhabit the same space, and the ghosts of the past collide with those who still live on. Aliss at the Fire, is a visionary masterpiece, a haunting exploration of love and loss that ranks among the greatest meditations on marriage and human fate.

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Melancholy I-II is a fictional invocation of the nineteenth-century Norwegian artist Lars Hertervig, who painted luminous landscapes, suffered mental illness and died poor in 1902. In this wild, feverish narrative, Jon Fosse delves into Hertervig’s mind as the events of one day precipitate his mental breakdown. A student of Hans Gude at the Academy of Art in Düsseldorf, Hertervig is paralyzed by anxieties about his talent and is overcome with love for Helene Winckelmann, his landlady’s daughter. Marked by inspiring lyrical flights of passion and enraged sexual delusions, Hertervig’s fixation on Helene persuades her family that he must leave. Oppressed by hallucinations and with nowhere to go, Hertervig shuttles between a cafe, where he endures the mockery of his more sophisticated classmates, and the Winckelmann’s apartment, which he desperately tries to re-enter – a limbo state which leads him inexorably into a state of madness. Published here in one volume in English for the first time, Melancholy I-II is a major novel by ‘the Beckett of the twenty-first century’ (Le Monde).

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In her old house by the fjord, Signe lies on a bench and sees a vision of herself as she was more than twenty years earlier: standing by the window waiting for her husband Asle, on that terrible late November day when he took his rowboat out onto the water and never returned. Her memories widen out to include their whole life together, and beyond: the bonds of family and the battles with implacable nature stretching back over five generations, to Asle’s great-great-grandmother Aliss. In Jon Fosse’s vivid, hallucinatory prose, all these moments in time inhabit the same space, and the ghosts of the past collide with those who still live on. Aliss at the Fire is a visionary masterpiece, a haunting exploration of love and loss that ranks among the greatest meditations on marriage and human fate.

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Scenes from a Childhood is the latest collection of stories by Jon Fosse, one of Norway's most celebrated authors and playwrights, famed for the minimalist and unsettling quality of his writing. In the title work, a loosely autobiographical narrative covers infancy to awkward adolescence, unearthing the moments of childhood that linger longest in the imagination. In 'And Then My Dog Will Come Back To Me', a haunting and dream-like novella, a dispute between neighbours escalates to an inexorable climax. Taken from various sources, the texts gathered here together for the first time demonstrate that the short story is one of the recurrent modes of Fosse's imagination, and occasions some of his greatest works.

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A young man lives alone with his mother and his beloved dog in a house in a small village overlooking the fjord. The dog has run off and gone missing. This has never happened before... In The Dead Dogs, lives are shockingly disrupted by an event that changes the direction of their future. Fosse’s drama explores life lived in unexpected ways, with a sense of otherness pervading the present and colouring the characters’ relationships.

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Eighteen international writers respond to the open-ended period of social distancing, closures, and illness caused by Covid-19. Compiled during the initial lockdown in Europe, this special collection is a meteoric publishing project with contributions from some of the most exciting and innovative authors working today. Original work by Enrique Vila-Matas, Olivia Sudjic, Jon Fosse, Inger Wold Lund, Vi Khi Nao, Patricia Portela, Lucie Elven, Mara Coson, Christina Hesselholdt, Jean-Baptiste Del Amo, Naja Marie Aidt, Michael Salu, Joanna Walsh, Jakuta Alikavazovic, Anna Zett, Emilio Fraia, Frode Grytten, and Olga Ravn Translations by Margaret Jull Costa, Zoe Perry, Martin Aitken, Denise Newman, Paul Russell Garrett, Damion Searls, and Rahul Bery Meditating on notions of distance and closeness, sameness and alterity, extinguishing and kindling, Tools for Extinction considers how a common pause might give rise to new modes of domesticity and shift experiences of time. What gestures and actions are we willing to perform to make ourselves, and each other, feel at ease - or at work? What tools and objects are useful, or unprecedentedly useless, to us in the process? And as our species' trademark proclivity for projecting ourselves into the future is disrupted, might we come to see the buildings, animals, plants, and foodstuffs around us in a new light? The anthology takes its name from Steven Brand's Whole Earth Catalog, a 1960s counterculture compendium of product reviews, essays, and articles on the themes of self-sufficiency, ecology, and alternative education. By giving "access to tools", a new social order and a more sustainable Earth was imagined. Compiled, edited and with a foreword by Denise Rose Hansen. Praise for Tools for Extinction The strongest lockdown literature - Michael La Pointe, TLS All the pieces here feel like they could end abruptly. They often do. This gives the collection a start and stop quality that feels appropriate. Our newsfeed minds are often diving in and self-ejecting out of intimate scenes from others' lives. Reading this book is akin to wandering around the authors homes, seeing if they've got any grand truths on the mantelpiece or in the basket on the landing. But there's often no lesson to be learned from solitude other than the experience of it. The hope carried in this book is that we can lean on fiction even beyond its breaking point - and our own - Republic of Consciousness Tools for Extinction grapples with the grief, trauma and anxiety of Covid-19 without presenting these phenomena as something entirely new. It is not a time capsule or a pandemic diary. It is not meant to be a record of an aberration to be read in libraries and schools in 2021 that look just like those of 2019. Tools for Extinction is meant to show that artists will have to adapt. The fact that the book came together in a few short months during a lockdown shows it can be done. And the resonance that the writing has for a reader still in lockdown shows that art still matters - Artist Books Reviews Tools for Extinction is acute literature. . . it signals the emergence of crisis-responsive fiction - Klaus Rothstein, Weekendavisen

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