Il tempo sospeso sul mare: “Lei è Ales” di Jon Fosse
Esistono ferite che il tempo non guarisce, ma che trasforma in una forma superiore di consapevolezza, dove i confini tra chi resta e chi se n’è andato svaniscono del tutto. Con la sua caratteristica scrittura ipnotica e poetica, il Premio Nobel Jon Fosse ci regala con Lei è Ales un’opera di straordinaria intensità emotiva, ambientata in un Nord immobile e dominato dagli elementi. La storia si…
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Finally finished Septology by Jon Fosse after about a year of on-and-off reading. In all I think it’s a 4 out of 5 star book: it could drag on especially in the parts with Asle’s nonsensical religious rambling (in my mind at least, though I’m not Catholic so I can’t attest to how religious folks might feel about it), but it was at least ambitious and a decent-to-good meditation about life.
Rambling spoiler-y thoughts below (with mentions of alcoholism and CSA — and also forgive me if I missed some accent marks for some names because I’m typing on my phone):
In all, as I said above, a good book. The repetition got very exhausting at times, especially when Asle would start going on about the light in his paintings and his religious thoughts and his landmark points when he looked out the window while sitting at his table, so I kept putting down the book to read something else. But when Fosse really tried the narration was hypnotic (my favorite part being the playground scenes in book I), which is probably why I had an easier time with the middle part than the beginning because of the depth of Asle’s memories and how they shaped him. I love books where Nothing Really Happens so this worked for me, especially because I love good stream of consciousness writing, but I can see why some people might fall off this pretty quick. The way Fosse wove in and out between Asle’s memories, and especially the weaving between narrator Asle and doppelgänger Asle in the first two parts (books I-II), was well done and reminded me a lot of Virginia Woolf’s style (and the boat scene at the very end where Asle starts confiding more in Asleik about his life reminded me of the last section of Woolf’s To The Lighthouse, as the narrative wove between the kids and Mr Ramsay on the boat and Lily Briscoe’s reminiscing at the house).
Personally I thought the middle section (books III-V, maybe into VI) was the best, having the most background into Asle’s life and childhood plus the duality with his doppelgänger’s life. Asle came off as pretty neurodivergent to me, but I’m not sure if Fosse intended this or if he was trying to make him an “eccentric” artist type with some vague handwaving that Something was wrong but who cares about specifics. At the very least his issues with math and directions came off as dyscalculia to me, with anxiety and maybe autism thrown into the mix. With that framing I was very sympathetic to him for all the weirdness in his life and his at-times frustrating behavior, especially after the parts where he recalls his neighbor’s drowning death when they were kids, his getting molested by the Bald Man as a child, and his little sister’s sudden death. That would drive anyone to become withdrawn and angry like he did as a teen, especially the aimlessness he felt because he hated school and felt no one in the world understood him. (Side note but I was kind of stunned at the Norwegian school system and how easy it seemed to drop in and out of it lol. I realize this probably takes place in the pre-cell phone/widespread internet era so I’m not entirely surprised Asle could do things like scratch out his ID card to change his age, plus education rules probably changed considerably since his childhood, but it was funny that he kept moving around so quickly, from the workshop in Aga for his time at the academic high school to Herdis Asen’s room to attend the art school in Bjørgvin and then to Ales’s mom’s friend’s house in what felt like less than two months.) My only major issue with this part was Asle’s first meeting with Ales, but that’s more because it came off as cringy teenagers in love haha. I don’t think the dialogue was that good in most of the book, but with the writing style it was more about the feeling of it than the conversation itself that was important, which Fosse conveyed very successfully.
In terms of criticism, I think the ending felt a bit limp and sudden. There’s build-up through books Vi-VII that I felt implied Asle would die soon given his extreme exhaustion, his decision to give up painting, repeated visions of Ales being near him, and his reminiscing about the deaths of the people around him. The sudden drop-off of the final 2-3 pages into the rambling section of flashbacks through his life and his doppelgänger’s was what sealed that conclusion for me, kind of like how people who have almost died but come back often say they saw visions of their life as they were dying. I don’t know if I feel that this is a hopeful ending, but Asle seemed more at peace with himself as he prayed and since every other book section ends with Asle praying then I suppose it had to happen again at the end. Maybe this is a sign that he can finally move on with his life, maybe this is a sign of impending death, I don’t know.
Another issue I had was the Asle and Guro doppelgänger thing. The deaths of the Bjørgvin Asle and Guro felt like a release of negativity for narrator Asle (and presumably Åsleik’s sister Guro), like they embodied the worst parts of their counterparts… but I’m not sure what the dual Guros were supposed to be. With both Asle’s the comparison was clear (one remained an isolated alcoholic who was unfaithful to both his wives and seemed like a much less successful artist than our Asle, while the other managed to move on from alcohol and stayed faithful to his wife even long after her death, and so on) but the two Guro’s felt like an afterthought. I wish this could have been expanded upon when Asle finally visited Sister Guro at the end with Åsleik for Christmas, but besides mentioning that she liked to drink/smoke and also did Hardanger embroidery like her Bjørgvin counterpart this duality fell flat. Was the proximity of the Bjørgvin doppelgängers the connection — that those two couldn’t stay away from each other while narrator Asle avoided Sister for decades? Was each Guro’s ability to collect their respective Asle’s paintings implying something about their level of emotional intimacy/understanding with them or something (one wanted but couldn’t afford to buy her Asle’s paintings but the other amassed a free collection of his best work through her brother)? And now that the counterparts were dead then maybe our Asle and Guro could meet without all the baggage of their counterparts weighing them down? Maybe there are certain details I didn’t catch because I read ~400 pages in less than a week, I don’t know, but the Guro stuff felt a bit superficial.
Also, poor Bragi, losing his alcoholic owner who constantly had issues getting up to walk and feed him only to get taken in by a guy who constantly doesn’t warm his house up and keeps letting him fall to the floor because he can’t remember the dog is in his lap before getting up. somebody please feed Bragi something besides bread :(
Anyway. Good book. I’ve already read some of Fosse’s other stuff and thought they were decent to good too (Morning and Evening I liked a lot, while Scenes from a Childhood was fine and gave some background to Asle from Septology). I have Melancholy I-II coming in the mail soon so I’ll be excited to read that since I do like Fosse’s writing style a lot and that one seems shorter. I don’t know if I can survive another repetitive 600+ page tome right now lol
Perhaps reading A Shining directly after Morning and Evening wasn't the right move. Both novellas explore the same idea that our consciousness may very well steamroll its way straight through death without even noticing that the body has perished, but A Shining takes a much more concise and direct approach that I found overall less interesting or evocative. But don't get it twisted; this was still a great read, and while the ideas are similar, their expression is quite different.
In A Shining, we find our narrator driving at random down roads that eventually lead him to a dark forest where his car gets stuck in a rut. Realizing that the last house he passed was miles back down the road and looked to be abandoned anyways, he decides to follow a path through the forest where he quickly gets lost and a bunch of surreal shit begins to ensue.
The metaphors for life are fairly obvious, but I loved the unsettling and claustrophobic atmosphere that Fosse was able to build with them. As our narrator tries to navigate this forest, he runs into ghosts and struggles against fatigue and decision paralysis. A Shining seems to espouse this idea that even in the dark forest of life where progress feels inert, movement and human connection are paramount to survival. It was a much-needed reminder that it does not matter so much which direction you move in so long as you keep moving, even if only to stay warm. And hug your parents, goddammit; they might need the love more than you do.
I still fully recommend this book, especially as it is such a quick and impactful read that you can bang out in a single sitting; I would just not read it right after Morning and Evening. Regardless, I am very excited to continue my Fosse journey with either Vaim or Trilogy as my next choice.
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What do you think happens when you die? Like, assuming that your consciousness is a self-contained capsule of memory and awareness that can exist outside of your corporeal form (one might even call it the "spirit"), do you think that it (you) will even notice when it is separated from the body? Or will it simply continue on without a hitch? One thing seems certain: without any new input, your consciousness will likely trigger a feedback loop and generate some strange conglomerate of past memories that will be recontextualized into new experiences (almost exactly like generative AI), but this could only go on for so long until your consciousness becomes aware that something feels off.
Personally, this idea terrifies me, and there is indeed an unmistakable sense of cosmic dread that runs through this novella, but Fosse has managed to create a compelling vision of how imperceptible the veil between life and death might be while also making an equally compelling case for the intrinsic beauty of life in every stage of its cycle. It is through this process of the consciousness coming to terms with its own fate that Morning and Evening proves how a certain level of discomfort is absolutely necessary to experience any sort of joy in life, and by the end of that process, all I could do was cry.
But I think the true genius of Fosse is how he was able to embed this philosophical conceit into both the structure of the story itself, which begins with the father of the main character having a premonition of his son's death during the moment of his birth, and also the prose, which is itself a cyclical, repetitive, and hypnotic stream of consciousness. Fosse's prose might not be for everyone, but Morning and Evening was such a unique and beautiful experience, and at only 107 pages long, I'd say it's worth anyone's time. I just hope that when I die the void of nothingness will swallow me whole.
"...perchè ora è come se emanassero una luce, mentre sono stretti l'uno all'altra, come se fossero una cosa sola, come se due esseri umani fossero un tutt'uno, sì, si stringono l'uno all'altra mentre si fa sera e il buio cade su di loro come neve, l'oscurità sembra scendere a fiocchi, uno dopo l'altro, ma come un unico buio, un buio indiviso, non sotto forma di brandelli di tenebre ma come un'oscurità che cala nevicando, e tanto più si fa buio, tanto più i due emanano luce, sì, si leva dai loro corpi una specie di chiarore, sono in grado di vederlo e anche se forse questa luce non è visibile, la si può vedere comunque..."