Although Jon Fosse is not well known in America, his work is revered in his native Norway, where he stands on a par with his onetime student and American celebrity, Karl Ove Knausgaard. In a piece for The Paris Review Daily, Damion Searls argues for Fosse’s relevance, claiming that Fosse is the only writer whose work made him weep as he translated it. You could also read Jonathan Callahan on Knausgaard’s My Struggle.
A hundred years after the First World War began, many people are looking anew at the conflict, among them Thomas Laquer, who wrote a lengthy reflection of its causes in an LRB review of Christopher Clark’s The Sleepwalkers. In The New Yorker, George Packer uses the war as a jumping-off point for an essay on a broader topic: the evolution of war literature in the modern world.
“Rather than presenting a single, definitive story—an ostensibly objective chronicle of events—these books offer a past of competing perspectives, of multiple voices. They are not so much historical as archival: instead of giving us the imagined experience of an event, they offer the ambiguous traces that such events leave behind.” On the role of realist historical fictions.
If there existed a trophy for the ugliest-looking but prettiest-sounding language, then the 721,700 living Welsh speakers would boast more championships than Alabama’s football team. Yes, the Welsh. They of the villages Llangefni and Llanfairfechan. (To say nothing of Llanfairpwllgwyngyll.) Wouldn’t it be a shame for such a language to disappear? For writing in this language to stop being published? Stanford’s Cynthia Haven thinks so.