Karl Ove Knausgaard’s huge six volume series My Struggle concludes with a gigantic 1100 page bruiser of a book, aptly title The End. Knausgaard’s writing has been termed ‘auto-fiction’ – his books tell the story of his life, all characters are real people, but unlike a conventional biography, this is life in all its maddening, repetitive detail. I’d like to be able to compare it with minimalist music, but at least that can have some beauty. Knausgaard’s six novels are crudely written, dwell on his insecurities and are dense with endless, insignificant minutiae. He pours coffee, smokes cigarette after cigarette. He worries, makes tedious trips to the shops and the park, stares out of windows. And yet there is something else happening here. It’s as if we’re trawling through our own lives, but with an intensity of focus on all the trivia: cooking sausages, loading the dishwasher, remembering the colour and smell of children’s clothes, the feel of warm rooms in summer, of cold streets in winter. Knausgaard creates a vivid reality, he seems to have an acute visual memory, seems to hold details of moments from decades ago that the rest of us have forgotten. In this last book he attempts to rationalise his obsession with the banal: in a long digression on the power of language in the rise of the Nazis, Knausgaard rejects reaching beyond the quotidian, elevating the world to something more than it is. There is desire for what is authentic, for what matters, for the human world. This is why, he seems to be saying, I have filled five volumes with getting up, making breakfast, doing the laundry, and, in this last book, worrying what others he has written about will think of him. He has a hyper-vigilance, a tension, a constant anxiety. When it’s remembered that book one of the series describes his father’s death, stirring up Knausgaard’s hatred for the man he regards as a thug, then there is some explanation for this vigilance: since he can remember, Knausgaard was bullied and beaten by his father. Many passages recall him waiting to hear his father come home, terrified what mood he would be in. These are novels of fear, of a lifelong insecurity, and although there is love and laughter here too, there is an overwhelming sense of man battling to be free. This, then, is his struggle.
Monthly Archives: July 2021
I’m working on an idea for a play, or ‘noise opera’, ‘Mary and Jane‘ – in which I imagine them meeting in the handsome streets of Georgian Bath. Jane Austen lived in the city from 1801- 1806, Shelley arrived just over ten years later. Austen’s stay there has been described as creatively fallow, whereas it was in Bath that Shelley completed her manuscript of Frankenstein.
Austen novels seem to offer infinite interpretation, yet the author is largely a mystery. We might try and find her in her writing, but her technique of ‘free indirect’ speech, loading her third person prose with the thoughts of her characters, makes it difficult. We might like to assume that some of her character’s views represent hers, but we can never know. There is little of contemporary events in her novels (even though a close relative was guillotined in the French Revolution), almost nothing of the Napoleonic Wars, nor any scrutiny of how her wealthy men made their money. There is only a very vague sense of the country on the verge of the dramatic changes which would be triggered by the industrial revolution. Mary, younger by over twenty years, has one foot in the future. Whereas Austen’s novels seem almost pre-industrial, Shelley is firmly in the modern world: electricity, evolution, exploration, the romantic individual, these are all starkly evident in Frankenstein. Shelley left us her journals, Austen only her novels, (her sister Cassandra destroyed her letters).
Shelley’s politics cannot be doubted: she was the daughter of two radicals, her mother was, arguably, one of the first feminist philosophers. Austen can be all things to all readers, indeterminate, open to endless speculation, seen by some critics as a ‘conservative propagandist’ and yet, by stressing her characters have an intelligence and a rationality equal to any man, she too can be viewed as a feminist icon. But I know neither that well, and my search continues.