Stacey D'Erasmo
Per Petterson's slender, subtly incisive new novel…lives in the liminal, nauseating space where you don't know who you are anymore or what will become of you. Arvid, like many of Petterson's narrators, is much more astronaut than cowboy, an emotional rocket man floating through a life he no longer understands, searching the past for clues. It sounds bleak, but instead it's rather dreamy and tenuous, like the thoughts one has in the brief moment between sleeping and waking. Clean sentence after clean sentence, Petterson conveys both the melancholy and the demi-pleasurable sensation of being fundamentally untethered.
The New York Times Book Review
Bob Thompson
Two-thirds of the way through Per Petterson's new novel, its narrator, 37-year-old Arvid Jansen, finds himself up a tree. Perched on a branch of an old pine overhanging his family's summer house, Arvid mulls a scheme for bridging the emotional gap that divides him from his mother. It's not going to work, this scheme, but never mind. Petterson…is a master at putting parents and children up the kind of psychic trees from which…they can't climb down. The stubborn mysteries of family conflict are his subject, and he evokes them in a voice whose straightforwardness belies its subtlety.
The Washington Post
Charles McGrath
Clear, colloquial and unadorned, the writing doubtless owes something to Hamsun and maybe just as much to Hemingway, who is invoked in the text a couple of times…And at moments when a lot of American prose seems fizzy and over-rich, the sentences in I Curse the River of Time go down like an eye-watering shot of aquavit. They evoke a landscape, mental and otherwise, that while a little wintry and severe, is appealing precisely because it's so off the beaten track.
The New York Times
Publishers Weekly
Like an emotional sucker punch, the latest novel from the much-acclaimed Petterson (a prequel to 2006's In the Wake) examines lives half-lived, ending, and perhaps beginning anew. In 1989, 37-year-old Arvid Jansen's marriage is ending and his mother is dying of cancer. Hoping to leave his marital woes behind in Oslo, Jansen follows his Danish-born mother to her home country, to the beach house where the family spent summers. During the ferry ride and the following days in Denmark, Jansen recalls his childhood bond with his mother and his decision, after two years of college, to leave school and join his fellow Communists in the factories. He struggles with his commitment to communism--the title is a line from a poem by Mao--and with his place in his family and in the larger world. Thankfully, there is neither overt sentimentalism nor a deathbed declaration of love between mother and son, but Petterson blends enough hope with the gorgeously evoked melancholy to come up with a heartbreaking and cautiously optimistic work. (Aug.)
From the Publisher
“An emotional suckerpunch. . . . Petterson blends enough hope with the gorgeously evoked melancholy to come up with a heartbreaking and cautiously optimistic work.” Publishers Weekly, starred review
“Petterson tells another poignant, harrowing and sometimes comic story of a man coming to terms with his dying mother, his failures (job, marriage) and his failures in the eyes of his mother: 'You squirt!' But mother and son are bound by feelings and memories for which even the word 'love' doesn't do justice.” The Wall Street Journal
“All the inevitability of life, its fragile glue and the doubts that stalk the survivors are summoned and considered in Petterson's candid, allusive fiction. There is no easy sentiment, only genuine emotional power. His tender new novel is as masterfully evocative as In the Wake and Out Stealing Horses, as gentle as To Siberia, and as exceptional as all three.” The Irish Times
“Though Petterson is often compared to Hemingway and Carver, he has etched a vernacular all his own. The loveliness of his prose lies not only with its distilled nature, but also in its repetitions and unexpected cadences, which infuse his style with a tenderness unseen in other spare prose virtuosos.” The Collagist
“The atmosphere of this latest from Petterson, famed for the IMPAC Dublin Literary Award winner Out Stealing Horses, is as gray as the stark Norwegian landscape. Melancholy permeates every character like a dense Oslo fog. Yet, this author's gift is his ability to convey so much emotion in such a sparse prose style.” Library Journal, starred review
“[Petterson] offers here a kind of origami novel: time bends and folds around the characters so they are both young and old, healthy and sick, dead and alive. His considerable skill is evident in the clarity with which readers are immersed in each chapter--though we may leap backwards and forwards on the temporal plane, we never stumble or trip. . . . The final product is something important, lovely, and a bit mysterious.” Foreword Magazine
“[Petterson] deftly alternates between present and past. . . . His prose is elegant and spare.” Booklist
“[A] melancholy novel. . . . Fans--and curious newcomers--will snap it up.” Newsday
“Petterson's spare and deliberate prose has astonishing force.” The New Yorker on Per Petterson
“Reading a Petterson novel is like falling into a northern landscape painting--all shafts of light and clear palpable chill.” Time on Per Petterson
“I was completely taken with Out Stealing Horses from the first page. I found it powerful yet so quietly done I could hear myself breathe, and I finished with an exhalation of awe. ” AMY TAN
“Per Petterson is a profoundly gifted novelist.” RICHARD FORD on Per Petterson
Library Journal
In Norwegian novelist Petterson's poetic, moody prequel to In the Wake (U.S. 2006), introspective protagonist Arvid Jansen spends a good deal of his time smoking, drinking, referencing book titles, and describing Scandinavian landscapes as he struggles to deal with his mother's cancer, his divorce, and the demise of communism. Written in highly descriptive prose, the story is centered in 1989 Oslo but skips back and forth through time, often without definitive shifts for listeners that might be clearer on the printed page. Though narrator Jefferson Mays's (The Lazarus Project) reading is well paced, the spiraling of the story, though relatively brief, may be too demanding for casual audiences, and a full picture of a man who hesitates to act and his family is never quite attained. Recommended for larger collections with an international literary focus. [The Graywolf hc received a starred review, LJ 4/15/10.—Ed.]—Joyce Kessel, Villa Maria Coll., Buffalo
NOVEMBER 2010 - AudioFile
Arvid Jansen’s world is spinning out of control. It’s 1989, and communism is crumbling, along with the Berlin Wall, his marriage, and his mother’s health. She’s dying of cancer and feels the need to return to her family home in Denmark. Arvid follows her, and as she deals with her illness, he examines his own life choices, coming to grips with the transient nature of life. Narrator Jefferson Mays allows only a hint of Arvid’s self-pity to come though, instead opting for the matter-of-fact stoicism of Petterson’s clean, spare prose. With intelligent dialogue and descriptions, Petterson (OUT STEALING HORSES) succeeds in creating stark images of the unforgiving Scandinavian landscape as well as evoking the terrible, terrifying silence in the infinite spaces between human beings. This novel is a prequel to Petterson’s 2000 work, IN THE WAKE. S.J.H. © AudioFile 2010, Portland, Maine