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4.11 AVERAGE
4.11 AVERAGE
In "My Struggle: Book Six," Karl Ove Knausgaard continues his exploration of the human condition, treading the delicate boundary between his burgeoning literary success and his ever-intertwining personal struggles. Written in the characteristic honest and intimate style of the earlier volumes, this final installment delves into the climax of his autobiographical saga while dealing with the consequences of his previous books.
As the anticipation surrounding his debut book builds, Knausgaard seeks refuge in transparency, sharing the manuscript with close family members and friends. However, his earnest intentions are met with mixed reactions. His uncle, Gunnar, emerges as a particularly strong objector, expressing discontent and even threatening legal action over the exposure of the family's private life. This conflict inaugurates a tumultuous period for Knausgaard, causing him to grapple with the repercussions of his pursuit of the "truth."
Knausgaard’s portrayal of his familial struggles, particularly his evolving relationship with his daughter, showcases his profound introspective abilities. The gradually widening chasm between him and his daughter ruthlessly mirrors the passage of time, infusing nostalgia and loss into the narrative as he explores his intertwined roles as a father and a writer.
Undoubtedly the most impressive elements of Book Six, though, are the in-depth essays on Adolf Hitler and Leonardo da Vinci. Knausgaard's exploration of Hitler as an aspiring artist and the influence of language in his transformation into a dictator was a bold, yet brilliant approach. His musings on the cultural shift from art to science and the impact on human values further elevate the narrative. Knausgaard’s objective is to trigger introspection, to challenge preexisting notions, and prompt a rethink of what we perceive as 'good' or 'evil'.
The narrative provides a fascinating examination of significant philosophical ideas, including existential philosophy and, particularly, Heidegger's concept of "das Man" or "they." It forces the reader to question societal norms, individuality, and how personal contributions shape society.
Among the candid slices of life woven throughout the narrative, one particularly striking aspect involves the portrayal of his deteriorating relationship with his wife, Linda. Their dynamic is evident in its full complexity, underlining a lack of mutual understanding and communication that culminates in Knausgaard's poignant recount of Linda's struggle with bipolar disorder.
Despite its impressive scope and depth, "My Struggle: Book Six" is not without its flaws, which mainly stem from its candidness and unceremonious portrayal of Knausgaard's private and personal relationships. While these vivid descriptions add depth and authenticity to the narrative, they occasionally feel unnecessarily intrusive, unsettling the overall balance between public and private. Consequently, certain scenes feel excessively raw, exposing intimate aspects of his personal life that seem more appropriate for a private diary than a public memoir.
As the book climaxes, the spotlight turns towards Knausgaard's struggle of maintaining a semblance of normalcy in the throes of increasing public scrutiny and personal turmoil. The book’s latter part chiefly revolves around his wife's mental health decline, her eventual stay at a mental health facility, and the consequential impact on his public and familial life. This confluence of public recognition commingling with personal challenges propels his life into unchartered territory. The blurring of boundaries between his public and private life becomes increasingly pronounced, and the pressure to maintain equilibrium becomes more intense.
"My Struggle: Book Six" is a daring exploration of deeply personal themes. Knausgaard's bold articulation of his experiences, both as a father and a writer, along with expansive philosophical discussions, make this an exceptional addition to contemporary literature. Despite its occasionally discomforting openness, the book remains a compelling read. However, due to the unsettling nature of the personal disclosures, my overall rating rests at a solid four out of five stars. Although this may not detract from the narrative’s boldness and sincerity, it adds a level of uneasiness which holds me back from giving it the fully deserved five-star rating.
As the anticipation surrounding his debut book builds, Knausgaard seeks refuge in transparency, sharing the manuscript with close family members and friends. However, his earnest intentions are met with mixed reactions. His uncle, Gunnar, emerges as a particularly strong objector, expressing discontent and even threatening legal action over the exposure of the family's private life. This conflict inaugurates a tumultuous period for Knausgaard, causing him to grapple with the repercussions of his pursuit of the "truth."
Knausgaard’s portrayal of his familial struggles, particularly his evolving relationship with his daughter, showcases his profound introspective abilities. The gradually widening chasm between him and his daughter ruthlessly mirrors the passage of time, infusing nostalgia and loss into the narrative as he explores his intertwined roles as a father and a writer.
Undoubtedly the most impressive elements of Book Six, though, are the in-depth essays on Adolf Hitler and Leonardo da Vinci. Knausgaard's exploration of Hitler as an aspiring artist and the influence of language in his transformation into a dictator was a bold, yet brilliant approach. His musings on the cultural shift from art to science and the impact on human values further elevate the narrative. Knausgaard’s objective is to trigger introspection, to challenge preexisting notions, and prompt a rethink of what we perceive as 'good' or 'evil'.
The narrative provides a fascinating examination of significant philosophical ideas, including existential philosophy and, particularly, Heidegger's concept of "das Man" or "they." It forces the reader to question societal norms, individuality, and how personal contributions shape society.
Among the candid slices of life woven throughout the narrative, one particularly striking aspect involves the portrayal of his deteriorating relationship with his wife, Linda. Their dynamic is evident in its full complexity, underlining a lack of mutual understanding and communication that culminates in Knausgaard's poignant recount of Linda's struggle with bipolar disorder.
Despite its impressive scope and depth, "My Struggle: Book Six" is not without its flaws, which mainly stem from its candidness and unceremonious portrayal of Knausgaard's private and personal relationships. While these vivid descriptions add depth and authenticity to the narrative, they occasionally feel unnecessarily intrusive, unsettling the overall balance between public and private. Consequently, certain scenes feel excessively raw, exposing intimate aspects of his personal life that seem more appropriate for a private diary than a public memoir.
As the book climaxes, the spotlight turns towards Knausgaard's struggle of maintaining a semblance of normalcy in the throes of increasing public scrutiny and personal turmoil. The book’s latter part chiefly revolves around his wife's mental health decline, her eventual stay at a mental health facility, and the consequential impact on his public and familial life. This confluence of public recognition commingling with personal challenges propels his life into unchartered territory. The blurring of boundaries between his public and private life becomes increasingly pronounced, and the pressure to maintain equilibrium becomes more intense.
"My Struggle: Book Six" is a daring exploration of deeply personal themes. Knausgaard's bold articulation of his experiences, both as a father and a writer, along with expansive philosophical discussions, make this an exceptional addition to contemporary literature. Despite its occasionally discomforting openness, the book remains a compelling read. However, due to the unsettling nature of the personal disclosures, my overall rating rests at a solid four out of five stars. Although this may not detract from the narrative’s boldness and sincerity, it adds a level of uneasiness which holds me back from giving it the fully deserved five-star rating.
challenging
dark
emotional
funny
lighthearted
reflective
relaxing
fast-paced
This book is just the right weight that it feels like holding a head in my hands, perhaps Knausgaard's. As many have said, reading these six volumes makes me feel like I know Knausgaard better than I could know any other person. Six volumes of personal musings, on everything from his childhood, youth, marriage, art, music, literature, philosophy, and history. A great maximalist internal narrative. Typical of his style, he moves from idea to idea fluidly.
The sixth volume begins with the events of the publication of the first. Knausgaard sends manuscripts to everyone who is written about and offers to change names. His uncle Gunnar is upset by the portrayal of their family and threatens legal action. He discusses the impact of this series on his life and his family.
He says that what we expect of great writers is that they express a unique "I" while representing the collective "we" which is an impossible contradiction. He discusses the "I" in literature at great length, including the work of Hamsun and Joyce. He talks about the work of several painters and a story by Borges. He says that Art is unique and local. It can never be recreated because it is fixed in time and place by an individual's expression. He phrases many of his discussions around a scale of human identity moving from the impersonal "it", the body, to the personal "I" to the personal "we" to the impersonal "we", the masses.
He discusses the life of Hitler at great length. Apparently this is not much biography of Hitler that doesn't paint an evil pictures of him from birth to death, which is a kind of narrowing of discourse to one person, putting all the blame for the atrocities of the Holocaust on one evil person. What Knausgaard tries to do is look at Hitler's life as well as the historical, cultural, and political situation in Europe that Hitler grew up in, that allowed for him to become what he became and do what he did, which is relevant now in our time of wavering democracy.
The sixth volume begins with the events of the publication of the first. Knausgaard sends manuscripts to everyone who is written about and offers to change names. His uncle Gunnar is upset by the portrayal of their family and threatens legal action. He discusses the impact of this series on his life and his family.
He says that what we expect of great writers is that they express a unique "I" while representing the collective "we" which is an impossible contradiction. He discusses the "I" in literature at great length, including the work of Hamsun and Joyce. He talks about the work of several painters and a story by Borges. He says that Art is unique and local. It can never be recreated because it is fixed in time and place by an individual's expression. He phrases many of his discussions around a scale of human identity moving from the impersonal "it", the body, to the personal "I" to the personal "we" to the impersonal "we", the masses.
He discusses the life of Hitler at great length. Apparently this is not much biography of Hitler that doesn't paint an evil pictures of him from birth to death, which is a kind of narrowing of discourse to one person, putting all the blame for the atrocities of the Holocaust on one evil person. What Knausgaard tries to do is look at Hitler's life as well as the historical, cultural, and political situation in Europe that Hitler grew up in, that allowed for him to become what he became and do what he did, which is relevant now in our time of wavering democracy.
My rating has to be extended to the entire endeavor itself, the stones required for such a project. Do I at this moment feel manipulated? Possibly. If Hamlet is indeed about Bosnia and AIDS (as was once asserted in a brilliant Branagh satire) then Knausgård and his Min kamp is a meditation on Trump/Erdogan/Abe, Brexit and #MeToo.
There are astonishing readings of Paul Celan and Hitler here, much more on the latter than one would assume. This discursive turn arrives when one is accustomed to something different. The My Struggle project isn't Proust, though the author is most aware and lards matters with the stated appreciation thereof. There is also a questionable diary of his wife's mental illness: things went suddenly Through A Glass Darkly. (that analogy is interesting with Bergman's relationship to Linda)
I read most of this on a mountain in Tennessee, Sierra Nevada was at hand. Quite a bit. Do I want to plumb further, perhaps consider Anne Sexton and Kawabata in this light? Do the Kavanaugh hearings have a bearing on ontology? My wife and I discussed a host of aspects regarding the meta-confession. I feel the better for such. I just spent a month reading Karl Ove. Let's see what daylight brings.
There are astonishing readings of Paul Celan and Hitler here, much more on the latter than one would assume. This discursive turn arrives when one is accustomed to something different. The My Struggle project isn't Proust, though the author is most aware and lards matters with the stated appreciation thereof. There is also a questionable diary of his wife's mental illness: things went suddenly Through A Glass Darkly. (that analogy is interesting with Bergman's relationship to Linda)
I read most of this on a mountain in Tennessee, Sierra Nevada was at hand. Quite a bit. Do I want to plumb further, perhaps consider Anne Sexton and Kawabata in this light? Do the Kavanaugh hearings have a bearing on ontology? My wife and I discussed a host of aspects regarding the meta-confession. I feel the better for such. I just spent a month reading Karl Ove. Let's see what daylight brings.
emotional
funny
informative
reflective
sad
medium-paced
Hier zit ik, net boek 6(!) van Knausgårds "Mijn strijd"-cyclus uit, en ben weer ongelooflijk onder de indruk.
"Vrouw" is veruit het meest onconventionele boek van de reeks en dat zit 'm in de structuur.
In het eerste deel ontmoeten we de schrijver vlak voor boek 1 zal uitgebracht worden en hoe moeilijk hij het heeft nu alles openbaar zal worden. Er is een nonkel die 'not amused' is en dreigt met een rechtszaak en wat zal zijn vrouw Linda er van vinden?! Geschreven in de ondertussen bekende stijl, leest dit weer vlot weg.
En nu komt dat onconventionele; het tweede deel is een essay "De naam en het getal". En we moeten eerlijk zijn, dit essay leest niet gemakkelijk. Het begint met een zeer intensieve, taalkundige bespreking van een gedicht van Paul Celan. Verder wordt Hitlers Mein Kampf geanalyseerd en hoe taal een rol heeft gespeeld in de radicalisering in vooroorlogs Duitsland. Echt zware kost, ik ga niet liegen en mijn samenvatting dekt uiteraard niet de volledige lading. Het was veruit het lastigste om te lezen, maar ik begrijp wel waarom het hier staat en hoe het essay staat ten opzichte van de hele reeks maar vooral ten opzichte van de schrijver zelf. Het is even doorzetten maar toch enorm de moeite waard.
Over het laatste deel kan ik relatief kort zijn. Hier staat zijn vrouw Linda en haar strijd met haar bipolaire stoornis centraal en hoort bij het ontroerendste dat ik ooit heb gelezen. Magnifiek.
Conclusie, ook dit laatste boek wist mij weer enorm te verrassen en diep te raken.
5sterren uiteraard.
"Vrouw" is veruit het meest onconventionele boek van de reeks en dat zit 'm in de structuur.
In het eerste deel ontmoeten we de schrijver vlak voor boek 1 zal uitgebracht worden en hoe moeilijk hij het heeft nu alles openbaar zal worden. Er is een nonkel die 'not amused' is en dreigt met een rechtszaak en wat zal zijn vrouw Linda er van vinden?! Geschreven in de ondertussen bekende stijl, leest dit weer vlot weg.
En nu komt dat onconventionele; het tweede deel is een essay "De naam en het getal". En we moeten eerlijk zijn, dit essay leest niet gemakkelijk. Het begint met een zeer intensieve, taalkundige bespreking van een gedicht van Paul Celan. Verder wordt Hitlers Mein Kampf geanalyseerd en hoe taal een rol heeft gespeeld in de radicalisering in vooroorlogs Duitsland. Echt zware kost, ik ga niet liegen en mijn samenvatting dekt uiteraard niet de volledige lading. Het was veruit het lastigste om te lezen, maar ik begrijp wel waarom het hier staat en hoe het essay staat ten opzichte van de hele reeks maar vooral ten opzichte van de schrijver zelf. Het is even doorzetten maar toch enorm de moeite waard.
Over het laatste deel kan ik relatief kort zijn. Hier staat zijn vrouw Linda en haar strijd met haar bipolaire stoornis centraal en hoort bij het ontroerendste dat ik ooit heb gelezen. Magnifiek.
Conclusie, ook dit laatste boek wist mij weer enorm te verrassen en diep te raken.
5sterren uiteraard.
A colleague once said to me that a 5-Star rating should be worthy of your remembering when and how you experienced reading the book. I could not agree more. The End, or Min Kamp Volume 6, was a slightly more disrupted read than Volumes 1-5. The narrative is broken by a 400-page essay on literature and Mein Kampf. While the essay may be incredibly important to fans of the project of Min Kamp and its literary motive, I could help but feel that it removed me too far from enjoying the closing of the narrative.
As a single entity Min Kamp may well be one of the most momentous, important, personally consequentially, or individually resonant books of my reading life. There are very few books which have made me self-reflect so deeply and intimately on what it means to have my own experience of life and values. A caveat: this may well be amplified by becoming a father myself during the time of my reading the 6 volumes (1-month before to 6-months after).
Putting that personal relationship aside for now, Min Kamp is a literary juggernaut. Knausgaard’s intent to contribute to literary history (a very ambitious and arrogant idea itself!) is unambiguously achieved. This is it. 21st century literature. Equal in stature (I’ll spend the rest of my life investigating qualitative comparisons) to Proust, Joyce, Broch (Knausgaard’s oft referenced 20th century canon).
I look forward to waiting a year or five to read this for a second time. I already miss it.
As a single entity Min Kamp may well be one of the most momentous, important, personally consequentially, or individually resonant books of my reading life. There are very few books which have made me self-reflect so deeply and intimately on what it means to have my own experience of life and values. A caveat: this may well be amplified by becoming a father myself during the time of my reading the 6 volumes (1-month before to 6-months after).
Putting that personal relationship aside for now, Min Kamp is a literary juggernaut. Knausgaard’s intent to contribute to literary history (a very ambitious and arrogant idea itself!) is unambiguously achieved. This is it. 21st century literature. Equal in stature (I’ll spend the rest of my life investigating qualitative comparisons) to Proust, Joyce, Broch (Knausgaard’s oft referenced 20th century canon).
I look forward to waiting a year or five to read this for a second time. I already miss it.
Krass hier die Schilderung der Psychosen seiner Frau.
Three stars for the final book, but more for it’s predecessors. I don’t know why there was such an extended essay about art, culture, Hitler and philosophy in the middle. Best skipped. A bit like the final 50 pages of War and Peace.