Death plays the lead role in the third part of Lars Norén’s diaries in which he reports on a journey towards the great solitude. Tomas Forser read.
The first part of the playwright Lars Norén A diary had solid black cover. The reader writer met and parted from him for two facial photos of Sara Mac Key. At first glance burns Norén. He looks out of victory. On the second, he lowered his eyes, the smile is introverted.
Pictures are time markers for the reader who now embarked on the third part, a playwright diary 20,132,015th Also the two photos, this time taken by Nelly Bonner. It’s been eight years. His face looks a little abandoned out. This volume is the thickest of the three, up to 1800 pages. I’m not sure. The thin sides are opaginerade. But there is a white block I put on the table. White as bone.
norénska But the project is not finished with it. He sees four parts: Morning, Day, Dusk, Night. Everyone has the disappearance as a theme. Death plays major role already in this part, where so much is about to get used to the life. “Just stand still for itself until you go over.”
in the body of the text is paradoxical. It’s all about what should cease.
entire suite of diaries is a plea for literature life, more naked than speech.
Gripen sniffling myself up in this clean-shaven report on a hike to the great loneliness. Again and again able Noren corrosive beautiful talk about what is not going to run away, stop or eliminate. It’s a playoff game in private, cultural, media and political level. This is not least about the inevitable shortcomings, they are all equal.
Lars Norén exposes himself as much as he sets out others. He shows his contempt willfully and becomes of and sordid in their viciousness. It is a rather unusual feature of the genre. But in this he resembles both August Strindberg Thomas Bernhard. For that, he will please many readers as the years passed and the contact with the past skinless long since been broken.
And of course he is right when he talks about the trivialization of cultural debate, SR’s dorky narcissistic lifestyle programs, DN’s tributes of DN’s own and related parties, TV’s program where like-minded paneldebatterar that clucking and chirping bundisar and the outsiders remain outsiders. Very dealing with the author’s formulation of the “chattering class”.
I see it on in some of the author’s twists where he regret what he said and written about someone who suddenly comes near him. Trying to stand aside or go in the opposite direction is difficult. Noren describes this in a disarming way when it comes to contact with Elisabeth Åsbrink, who is a friend and wants to ensure that she is also in his diary.
example is telling. More confided not. It must also be said that his generous reviews are numerous. For a few skilled readers, he is unreservedly dependent. As the review secure publishing editor Gunilla course. And Mikael van Reis, who “knows more about my writing than I do.”
outside the immediate circle he mentions recurring critics Goran Sommardal and Ulf Eriksson. Also Åsa Linderborg he respects – eventually. Lidija Praizovic immediately. Henning Mankell he admires.
So it is that the philosophy. Heidegger’s genius haunt him. He read him constantly. Not only classic Being and Time, but he also tries to understand the rich commentary on the philosopher’s works. Noren is tormented by the anti-Semitism and the national community ideology are vital parts of Heidegger’s way to the alienation of the postwar period. He turns and twists in mind the goods and their central parts without coming off really.
As if he trod water. I can not say that I have the energy to follow analytical reasoning all the way, but it does not seem Noren do. What I do see is that wrestling and these retakes and renewed effort in light of Nazism and anti-Semitism. But also by the Israeli state violence against Palestinians.
repetitions occur in both the world and the production and create a kind of stuttering in the text. Retakes of despair. There will be a productive style grip, significantly nearer the end of the book and his life, and we will.
What does the diary of the playwright’s short time on Folkteatern? Among other things, the theater’s economic problems grew as the artistic ambitions and actual success Norén’s leadership and direction meant. At his side was his producer Ulrika Josephson, one of the premier. But it was not like it was meant and he left the theater for solitude at his desk in Stockholm and Gotland.
“I was not enough,” he summarizes. No, maybe not. However, a boost for the theater and became the ensemble’s self-esteem was strengthened.
must be added to Noren had a daughter to take care of. The accounts of life with her given the great location. The style change in the portions and becomes very ADJECTIVAL.
Norén’s diaries are of lasting value.