Maybe Lars Norén diaries consciously and patiently try to maintain the connection with herself, and that writing self. “In the diary I preserve in any way myself, in any case, by the language,” he writes also in August 2013 in the new volume of “A playwright diary”, which covers the years 2013-2015.
The bright, white wrapper encloses fine this comprehensive blockbok with all their rustling and paper-thin book pages.
Where conservation and Language is the author’s motivations, what is it when the mechanisms that control my reading of the diaries? Surely it is more intensive than the language norénska preservation. Of course, one could easily – without being particularly sensational – get caught up in all the depth and complexity of the relations to C, the beloved daughters Sasha and Nelly and the painful point and the wound: Linda, the first-born. Although he did not, with manic intensity, hate as a Thomas Bernhard can pan for several harsh reviews about other writers, journalists and actors.
You could also hook up on all the daily routines, caught in the notorious precision with which all food and furniture purchases reported. It can be tired of the monotonous, repetitive work with what he had written in diaries and in prose books “Philosophy Night” and “No” and “Fragments” book.
But what I never cease to surprised – and impressed by – for Noren is when single formulations or words, almost high-resolution and luminous images in the middle of text masses. Sharpness, authentic and with a breathtaking transparency they rise as aphoristic sculptures in the middle of froth and future ordströmmar.
This is the his intense searchlight suddenly stop in and create a growing space. Each individual word then becomes a major way when Norén is working its way toward the infinite. It is as if we look straight into a naked, existential space, alternately shrinking and expanding. Actually, this living space independent of Lars Norén as a person, but it is his experiences and experiences that give us a new life material to work with.
Perhaps he also makes her “inner prison” to an open space for all when he says: “I’m not the least bit interested in my biography jags. I am interested in it as a string or porous border with or in the world of matter and the facts “.
Lars Norén is a writer , which often takes in contemporary events and events in their texts . Here he comments also the events in Syria and the terrorist attacks on Charlie Hebdo editorial. But only briefly, because he will soon enough revert to its intensive reading of Heidegger and Adorno.
But there is also a reluctant approach to Paul Celan, which he had not dared to approach when he thought that Celan’s poetry would trigger a landslide in him, “from a hidden ravine.” Some days are growing notes also out to be a kind of philosophical mini-essays.
A diary truth is now not at all the interesting notes and observations, but in all the details and thoughts that create a fabric which can be a picture of the daily reality.
the new volume will feel consistently more concentrated than the two previous. It’s like Norén has refrained from squandering storytelling and dramaturgy, and instead seek their way along a different linguistic flow. Therefore, the themes previously been prominent: LOVES, work, separations, theater rehearsals, gardening and writing this dimmed and instead reduces and “avskapar” he said. This is also why he let large portions large parts of 2015 is formulated in the form of poetry and what he calls “anti-poetry”.
Marked Noréns lyrics , even now more of a conciliatory and avklarnad attitude to life? Yes, maybe sometimes – or no, actually still do not – not as a whole.
Sure, you see more and more of the aging process as a hike in the End Garden. But equally, he is still so vivid, demanding, light, black and contradictory as he always has been. “Today I am calm. Today, I am worried. “
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