I’m a major admirer of Karl Ove Knausgaard. His memoir, My Struggle, of course, 3000-plus pages spread out across six books, each of which has its own unique character (Private ranking: 4, 2, 1, 5, 6, 3.) But I also love his short “season” books, especially Autumn and Spring, and his novel A Time for Everything, which reinvents stories from the Bible and places them against a Norwegian backdrop.
I recently spoke with Knausgaard via Zoom about his new novel, The Morning Star, a multi-perspective first-person story set in Norway in which a giant star appears in the sky and earth’s beings seem to stop dying. The novel features nine different narrators. Several appear relatively briefly, but the leads are Egil, who is writing an essay on death that appears toward the end of the book; Kathrine, a priest struggling with her marriage; Jonnstein, a nasty reporter trying to get his crime beat back; and Arne, whose bipolar wife is suffering from a mania, wandering their property at all hours of the night, and painting disturbing images. These characters each have their own dramas—but all the while the world is changing in the light of the new star, with murders, monsters, brutality against animals, and ever-rising heat.
The Morning Star is Knausgaard’s first work of pure fiction in over a decade. He was in London and I was in Brooklyn during the interview, with the sun setting as he spoke until he was in near-total darkness
The Millions: You’ve said that writing a novel is like setting a goal, then walking there in your sleep. When you were in New York a couple of years ago, you told me that you were 40 pages into a multi-perspective novel. Was that The Morning Star?
Karl Ove Knausgaard: Yeah, it was incredibly slow in the beginning until some things fell in place. Then I wrote it very rapidly, mostly during the first spring of the pandemic, from Christmas until May, I think. But before that, it was a long period where I just had it lying around and didn’t work on it.
TM: I saw inklings of the pandemic all over the book. Did you find that it impacted your process?
KOK: I didn’t think about that at the time, but I could see clearly afterwards when it was published that, yeah, very much so, I think. Because the kind of intense feeling I had and probably everybody had in the beginning was of the intimacy of the family, all of a sudden, coming together and spending much more time together. Then you have that threat outside which was really horrible, at least here in London, with all the deaths and the ambulances. Same as in New York, of course. Yeah, it must have somehow snaked its way into the novel. I had four hours a day to write, and then I had to deal with all the other stuff because we were all there. We were nine people in the house, you know?
TM: Oh my gosh.
KOK: But that was good, too. It was a good experience. You had to give it all of those four hours. I couldn’t hesitate. I had to just write whatever came into my mind.
TM: There are nine narrators in The Morning Star, so it’s interesting that there were nine people in your house.
KOK: Oh, I never thought about that.
TM: These characters have their own concerns, and they’re very much private ones. A new baby. A problem at work. Seeing a teacher you don’t want to see in the grocery store. Though it’s getting hot, and animals are acting strangely, and there’s a new star in the sky, it seems like the characters stay focused on the granular, day to day stuff.
KOK: Definitely.
TM: That did remind me of the pandemic. This idea of disaster out the window, but then at home, what are we going to eat, I’m fighting with my partner, whatever.
KOK: I think so. It wasn’t like I thought that was how I wanted to make it. I just wanted to find these people and to be in their life, and then this star appears, and I didn’t know how they would react. So, I think it was kind of—yeah, it was probably also related to what happened, really, and that very particular experience, because the funny thing is, you couldn’t share it with anyone because everybody had the same experience, you know? Couldn’t write about it, couldn’t talk about it, couldn’t call friends and say, “Do you know what’s happening here?” I never experienced anything like it. Never saw something so general in history. But this isn’t a pandemic novel at all.
TM: I was thinking about the idea of the big story, that Tolstoyan concept of the war going on in the backdrop of peace. Or the whale being off-camera for most of Moby-Dick. It’s hard, as a reader, to even picture, exactly, what the morning star is. I was wondering what it’s like to write with something on the periphery of a novel that is so giant, yet moves away right when a reader might most want to look at it?
KOK: Well, I started out and I had this idea about The Morning Star, and I wanted to have nine narrators. That was basically what I had, and then I started to tell the story and I realized, I had just started, it’s going to be more books. The Morning Star is going to be more scrutinized. I think what I struggled with the most was, and it’s probably very understandable, was credibility. That the characters could believe in the star. That’s the only thing I’m really working hard with, trying to get that star up there and make an impact on people.
TM: Have you started, I hate this kind of question, but are you writing the next part?
KOK: Yeah, yeah, I’m actually finishing it. I have a deadline for it on the first of September, so I’m really at the very end of it.
TM: Oh, great.
KOK: You have to write so much. I’ve written a lot today, for instance. I was almost done.
TM: This is a pattern book, but then you break the pattern in many ways. There’s two characters that you only spend a bit of time with, the one watching the baby and the one who was kissed by her brother-in-law
KOK: Yeah, and I felt like I’m starting a novel each time, you know? Just stop them and go onto the next. I will pick them up and go further, but I have no idea what’s going to happen, really.
TM: A technique you use in My Struggle and here is suspension. You see a big thing, you pause, and in this book, sometimes you go 200 pages before you come back to whatever the moment of suspense is. I’m curious how you juggle these moments.
KOK: I have no idea. I’m sorry, it’s very intuitive. It’s a lot about pacing, really, and what you can allow. Suspense allows you to dwell with something and to write about other stuff, and it makes it possible to get to, for me at least, everyday life. Somehow get the sense of intensity to it. For me, writing a novel is a way of creating a room or a space where I can say something that might otherwise have been incredibly banal, or not worth it all. But I never think about those terms in a technical way. Suspense doesn’t mean anything to me, really. It’s just writing.
TM: When we last spoke, you were preoccupied with making the characters feel different. You said that was the biggest challenge you were setting for yourself with this project.
KOK: Yeah, that was something I also discussed with my editor throughout, because every person is written the same way, thinking the same way. It’s like—how to create different characters in the same language?—and I didn’t want to pretend I’m going to other languages, or other ways of writing. I also didn’t want the third person, which could have been a solution, so that was something I thought about all the way through. My editor said to me, “Just write about these people and it becomes an illusion.” I mean, everybody knows you’ve written it. But I set some different parameters in the beginning, and that makes them different in a way.
TM: When you switch back and forth, are the characters waiting for you? Or do you have to write your way back into them?
KOK: No, I can just go into them, but the whole goal was to establish them, because I didn’t know anything about any of them, so I just started the situation and kind of found my way. Then something opened up, and then more, and then there was a life there. For instance, the priest, all I knew was that she would come in on an airplane, and that she had been on a conference for translation of the Bible, which I was part of. I knew this was at least authentic, in a way. That was all I had about her, I had no idea that she didn’t want to go home, that she had these troubles. It was the same with all of them, and that’s the fun of writing fiction.
TM: There’s so many moments in writing, I’m thinking of Stendhal maybe, where you have characters that seem separated by wide gulfs, and then suddenly you learn that they’re linked. For me, finding out that Egil (an important character) went to school with the priest was the kind of moment in writing that makes your heart beat a little bit.
KOK: Yeah. I had great fun with this, and there are going to be more link ups to come.
TM: I found a quote of yours in your Munch book about The Scream, I’ll just read it, because it made me think of what we’re talking about:
What is shocking about the picture…is that the entire space is subsumed into the face and the state of mind it expresses… The space is recognizable, it is Oslo with the Oslo fjord, probably seen from the ridge of Ekebergåsen, but it is greatly distorted…the perspective has been moved into a single person, and the work’s main concern is the place from which the world is viewed, reality as experienced by this single individual is the world. Everything seen is coloured by emotions and moods, which are continually changing.
KOK: Yeah, I think that’s just the way I looked at everything, really. Art, literature, and writing. Yeah. I haven’t specifically thought about that, but of course I’ve thought about the view of the world and of different worlds a lot, and that’s also an opportunity. It’s exactly that, sure. Exactly that, that you could see the same world and it’s completely different. That could be a relation. I wanted this book to exist also in between the characters, not like my previous book My Struggle, which is just one person, nothing else.
TM: I wanted to ask about the character Jostein—I’m sure he was fun.
KOK: He was fun to write, yeah.
TM: Peeing himself, drinking, hitting on girls, ignoring his son’s very clear psychiatric crisis. But then he gets this transcendent journey through a Dantean purgatory. He would have been the least likely character for me to say, “I want to see what he thinks about the river Styx.” How did that sequence come into it?
KOK: He was just this idea of journalists writing about culture while hating culture. Which I know for sure exists, and I wondered why that is, you know? I really hate it, I mean, really, really hate it, and so I had to write about it. Then I just riffed on him through the novel. And he was the obvious choice for that scene, really. I never thought of anyone else. Also, I don’t really know, but I really like it that in that scene everything has to be simplified, simplified, and simplified. He actually doesn’t remember anything. That whole trip to the other world was also very late stage in the novel, and came when I was very in the book, and he was there.
TM: The way the language shifts into something primordial when he drinks from the river was a pleasure.
KOK: Yeah, it was fun, actually, to do.
TM: Another thing that was fun was the essay at the end of the book that you show Egil writing earlier, with that little capsule story of him on the train. And I know your answer is going to be it happened organically while you were writing it, so I’m not going to ask you that question again.
KOK: Sorry.
TM: No, it’s good! I’m the same way. But the use of research and these theoretical opinings on death in a novel about people who can’t die—I do think is worth asking about.
KOK: It was stuff I was reading for the book, mainly, throughout the writing. I read, I do the same thing now, I have not a lot of time to read, so I read before I go to bed, and I have like half an hour, an hour, and that was the stuff I was reading. I knew it was going to be an essay, I wanted an essay in there. We discussed if it should be the start of the next one or the end of this one, but then I started to write it and I realized that the level of abstraction is very high when you are writing romantically about death or whatever. And death is not like that, that’s the thing. It’s not abstract, it’s not something you can really think of. It’s absolutely horrible, as everybody knows.
I needed to move that essay into a real expression, and then I remembered when I must have been 24 or something, I took a train from Oslo and there was this medical doctor. He was an anesthetic doctor. It was only him and me. We started to drink, and he started to confess from his life. Never seen him before, never seen him later. This is now 30 years ago, so I think I’m pretty safe. He just told me everything about his life, and he said, “I know I’m not going to see you again,” and then he told me about an experience he had about being on an ambulance helicopter and actually seeing people who weren’t there. I’ve always thought “I have to use this,” and there it was. Then I just expanded the story and invented a funeral, his anger and sorrow, and the death of his child. Basically, that’s how it works with fiction, you have an experience and then make use of it in an entirely different way. It was very important to end the essay in reality somehow, even though it’s an invented reality in the novel.
TM: In Fight Club, single serving friends, I think is what they call it.
KOK: I see, yeah. It was very powerful, actually.
TM: Sounds like it.
KOK: Yeah. I was very young, too.
TM: Toward the end of the novel, you write that death has been taken out of darkness, with mythological ideas of death turning into scientific processes. And I couldn’t stop thinking about your brain surgery essay about Dr. Marsh, when you’re looking at the brain through the microscope and you see this gorgeous thing. That’s a human being, but at the same time it’s science. What do you think science is doing to our understanding of death?
KOK: That’s a very good question. I’m actually reading a lot about that for the book I’m writing now, which is a very different perspective. And I don’t really want to talk about what I’m doing now, but I think there are several traits about death and about the body and about life that are very fixed in a way; they belong to each other’s department. The interesting thing, for instance, is that the idea of resurrection has always been in religion. It’s been the center of Christianity, but in a way, that idea has been impossible now, because religion has become more rational, so they can’t make it work in an old fashioned, biological, flesh and blood way. We don’t believe in it, but they did. Instead, it’s just moved into science, where it pops up in the most amazing ways. I just read, what is his name, the singularity man, who starts to think it’s possible to defy death and to beat aging. All through science, all through molecules and biology and computers. That’s doing something very weird, because for me, body is earth. Body is animal, body is primal, somehow, and very, very old.
Then you’ve got this kind of modern body, but the body is the same. We are the same. That is what I’m trying to write about again and again, the pull from the earth versus the enlightenment and the brand-new world we’re living in. When death comes, it just smashes all of that and destroys it. You face something completely different.
There’s this wonderful novel I just read, a Russian novel, by Chinghiz Aitmatov. Have you read it?
TM: No.
KOK: The Day as Long as a Century, it’s called.
TM: Oh, wow. Great title.
KOK: Absolutely wonderful. It has a very silly science fiction part, but it works, and it has an incredibly good part down on earth. It’s about a man in the Soviet Republic of Kazakhstan in the ‘60s and ‘70s and ‘80s, burying a friend. Going on a camel to bury him, and he kind of relives his life. Then there is a completely weird presence of rockets and the combination of those worlds side by side is absolutely brilliant.
I do have the same feeling when I read those crazy futurist American people, that really freaks me out somehow, but still it is very interesting. If you read them, you think yeah, it is possible. We are basically numbers. The scary thing is maybe this is where the hard science is going. That’s very much part of what I’m writing. It’s very existential, but also very much now. You know?
TM: Very much.
KOK: The very simple thought that death is something archaic, is something that kind of sets the rules, and it does something to us. It’s the thing I’m exploring in the first book. And the feeling I have is the same as I had in the beginning of My Struggle: it was my father’s death. It’s something you have to relate to, and it is everywhere, especially now with so many people dying around us. Dr. Marsh said—I asked him if he believed in something after death—and he said, “No, it’s over. It’s nothing. It’s just death. It’s like blowing a fuse.”
He’s seen many people die, so he knows what he’s talking about.
TM: I trust him more than me on that. When you were speaking, I was also thinking of the fundamentalist speaking-in-tongues American beliefs that still have a more spiritual approach to death.
KOK: Yeah. I was intrigued by all of them, all of that, the whole tradition you’re talking about. And Shamanism is incredibly interesting, just as a phenomenon. What it does to your view of the world, which is what I’m interested in. I’m not so interested in if it is true. It’s what it makes the world into. Turns it into something else. That’s what I want to do with this book. In a very, very mundane world, of course.
TM: A Time for Everything is one of my favorite books. You place mythological stories, Cain and Abel, Abraham, in familiar Norwegian environments. Woods that are very much like the woods in My Struggle, figures that we see again in My Struggle. In The Morning Star, too, I was having fun Googling the restaurants you were mentioning in the book and seeing the interiors you described. So, you have this surreal landscape, but it’s very, very strongly mapped onto a real place.
KOK: Yeah. I hadn’t written about many landscapes, and the lesson in my second novel, A Time for Everything, was that when I tried to write those stories, I had set them in vivid landscapes, and it was impossible, because I didn’t have the knowledge or the insight, and if you’re a bit insecure, it’s impossible to be free.
It was a bit the same in The Morning Star with writing from the perspective of women. In the beginning I wasn’t free, and didn’t know anything, so I really wrote badly because of that.
What I did in A Time for Everything was to move it to Norway. I knew the Norwegian landscape, so then I could just be free. I gave those people some traits from my grandparents and so on, as you know. When I was writing The Morning Star, I was in London, but the memories and images of where I grew up were very strong, and it gave an extra dimension.
Because to me, it is real because I was there, but it isn’t here, so I have to make it up anyway. If I have something realistic, then it’s much, much better to let something extraordinary or fantastic happen. To be free in something, I have to know it really well. I do also like a concrete, real world combined with fiction. It’s always something that I appreciate with many of the novels I like. If you read Tolstoy, for instance, you know those places exist somehow, and it’s grounded in the information of the world.
TM: How did you start to feel more comfortable writing the female characters?
KOK: I had to say, “I can’t do this,” because I was being so respectful. I asked myself, “Can a woman think this? Would a woman do this?” Then you’re fucked, because there’s no creativity, it’s just restrictions. I had to let go of all of that, and just write and be completely free, never think about if a woman could think that, would do that. Then the novel in itself started to come alive, because the first person I wrote was the nurse.
TM: One thing I was intrigued by with her was that In the Land of the Cyclops has an essay that’s partially about you working in a place that’s very similar to the place she works, a home for the mentally ill. Were you giving bits of yourself to different characters?
KOK: Yeah, yeah. That’s all over the place, really, because you need something that is true, and it doesn’t have to be true in any direct sense, but there has to be an experience of something you know. I have to have that when I’m writing, so there’s a lot of that spread out and I just use whatever comes in hand. That goes for all of the characters,
TM: You’ve written that having a family member with bipolar disorder changes the you and the I, and creates questions about what is essential to an individual’s identity. I wanted to ask about that astonishing moment where the bipolar character Turid’s painting contains a truth that no other character sees.
KOK: The thing with her is that she is psychotic. Or she is getting psychotic, meaning she is seeing something. Because it’s like a dream, but you are in the real world, and you can’t believe everything. You have the ecstasy with the shamans, and that’s also the same way, that you see something that might not be there. Or you have experiences with mushrooms or whatever, you always see something. It’s just an interesting place to be, I think, if you are in the world with everyone but you see something else. Not that that should be real, or not real, or whatever. It’s a position, and the outer world is completely dissolved.
TM: This book has strong elements of horror. The being in the woods, violence against cats. I wanted to ask about your decision to use fear in this book.
KOK: I set out to. One of my favorite books is Dracula by Bram Stoker. I think I was 14 the first time I read it, and I read it many times. I really, really loved it. I remember playing Echo and the Bunnymen when I read it, so every time I hear Echo and the Bunnymen again, I remember. I wanted to go, the gothic and the grotesque and all of that, those are places I wanted to go. And of course, The Morning Star has many elements, especially cliffhangers and supernatural stuff.
TM: And Dracula can’t die in a normal way.
KOK: That’s true, yeah. Never thought about that.
TM: I was reading your essay on Cindy Sherman’s pig person, and thinking about non-humanness as something that is really frightening as well.
KOK: Yeah. It’s just a fascination I have. We have all of these other living creatures and we’re not afraid of them. They are not us, they’re different, and we accept them and don’t think too much about them, even though it’s very weird to have other creatures that experience the world completely differently. But then think about meeting the devil, not in any fictitious way, but in a real way. If you try to think about non-human creatures like that, or a divine creature, or whatever that people have been seeing throughout history, how immensely scary that is. It’s the same with robots.
TM: I would love to ask about The Lily of the Field and the Bird of the Air, the Kierkegaard text. Egil, the character, writes about how strongly it impacted him, like it was seeing something for the first time. I was wondering if that follows your own journey of reading?
KOK: I actually read it in New York, and I read it English the first time because I bought it in a bookshop there. I was just blown away by it, really. I think the immediate appeal was the repetitions, the poetry. It was like I was transfixed. There is a complete impossible idea that it brings forth which I was intrigued by. I didn’t think I should use it in any way, but I did. I think it’s the common knowledge of living now, the radicality of it and Kierkegaard makes you see it, like you said, for the first time. You see the radicality in it. In The Morning Star, there are two different types of Christianity going on. The priest, Katrina, she’s very much about the social reality, very much about mercy. Then you have Egil, which is completely the opposite, which is Kierkegaard, turning away from the social and looking into the abyss, which Kierkegaard was very good at doing. And then I also did, like Egil, I bought the complete series of all of Kierkegaard’s work in Danish, which I have here on my shelves. Then I read an incredibly good biography about him. He was such a fun character as a person.
TM: Did you find that going back to fiction, was it fun, was it different, did it feel liberating?
KOK: It was fun, but it was in a way also much harder, and I also felt that I took a risk, really doing this. You know? That was part of the fun, and I really enjoyed it.
TM: When I talked to you about My Struggle, sometimes I felt a little awkward because I was asking questions about the character you to the writer you. Is this a different sort of interview for you?
KOK: Yeah, much harder to talk about fiction because with My Struggle, we can just talk about myself, you know? It’s fine, I don’t have to think. With this book, I have to find a way of talking about it and there’s so much I don’t know. I did write it very fast, really. And I haven’t talked much about it because there was a pandemic, so I did like three interviews in Norway, three in Sweden, one in Denmark, and that was it. Which is great.
TM: You don’t read anything written about you, right?
KOK: No, I don’t.
TM: So, I can do whatever I want with this.
KOK: Yeah.
TM: Is it easy to avoid pieces about yourself?
KOK: It’s easy, but sometimes there is a headline, often reviews come out like two weeks before the book, and I’m not prepared. Then I know, okay, it’s a shit review or whatever. But I don’t feel curious anymore. It’s very, very good not to read it. Even the good stuff is terrible. It’s such a good thing to do, not to read about yourself.
Bonus Links:
—A Complete Visual Map of Karl Ove Knausgaard’s ‘My Struggle’
—You’re Not a Real Writer Until You Have Enemies: The Millions Interviews Karl Ove Knausgaard
—Karl Ove Knausgaard’s Seasons Quartet Is a Raw Journey through the Writing Process
—Karl Ove Knausgaard Shows You What Makes Life Worth Living
—Devoutly to Be Wished: Karl Ove Knausgaard’s Consummation
