YouSaid · the spoken record

Karl Ove Knausgård

lines on the record: 75
first: 2019-05-08
most recent: 2019-05-08
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“I'm not sure if artists would do that, but that's what I thought when I started to write about Monken. Another interesting thing is that it's exactly the same thing is going on in the literature at that time, you know. You have the epic novel with all the characters, all the rooms Tolstoy. It's a very good example because that is a book about rooms. And then you have, for instance, then Krompson in Hunger, which is just one person, and his distorted version of the world that exists. And when he dies, the world disappears, you know.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“To events that wasn't even there back somehow. And I think both Kiefer and Monk are great artists, but they live in different times and they had different missions. And for Monk, it was very important to give access directly to the pain and to the distorted vision of the world and to give a more true account of how it is to be. I think he wanted to do. And now it's the opposite because now we need space and we need comfort and we need time and we need something.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“And the interesting thing now, I think, is that it's a fair description of the world how it is now. It is an instant world. We get access to painful things that happens when it happens. I mean, today there was a massacre in New Zealand. The minute it happens, we know about it. We relate to it. We feel the pain. We see the pictures. That didn't just happen. That didn't happen at Monk's time. It was unheard of. Now that's the world we live in the world of scream. There's no space between us and the world. Everything comes bombarding us, you know. So what the art has to do now is the opposite, it is to create spaces, is to recreate rooms. And I was thinking about that and I was also writing in the book about I was in an exhibition with Ansom Keith for her in London as White Cube. It was absolutely magnificent. But it was no people in it, it was only spaces, only room. And it was kind of mythological room, so it was like it was giving space.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“And that is the radicality of the painting. That is no space and no comfort. It's an acute thing. It's instant. And you have to relate to it. You can't see that painting without relating to it. No, I mean, when you saw it for the first time”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Isn't an acuteness in it. You could see it, you know, it will pass and you observe it from the outside. So you see it at a distance. You see something painful, a sick girl at a distance, and it's in another room and we will pass. So there is a comfort in that. But Monk does in that painting is to remove that room, to remove that space because it's all the landscape is subdued to the person in the painting so it's his landscapes. So there's no room in it. There's no neutrality. It's when that person is gone, the landscape is gone. So there is no space and there is no time. Instantly painting is acute. It's like it's happening now. And we share the space with the painting.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“anxiety, and anxiety is incredibly painful, so it is a painting about pain. But we see, you know, we see a million dollar, we see its fame, we don't see that. But the interesting thing for me was when I wrote about it was what kind of paintings MOOC had access to and what kind of how they painted at that time. Because no matter how painful things were, they were always taking place in a space, in a room and having that space having that room, you know that the events in that room will one day be over, something new will take place there. If Madame Bavari is very painful ending, but you know that world will continue and there is a kind of a comfort in that.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“My take on screams, you know, that's what happens when you're writing. You just start, I just sat down with a monk book. I don't know, okay, I write a book about monk. Let's see where this goes. And then you just enter it and then come something back and then two months later you have a book. And the scream is, it's one of the most iconic paintings there is. Everyone I think have seen it. It's so recognizable and it's so almost we have an intimate knowledge of it. We see it, you know. But the painting is about the opposite. It's about something very strange. It's about something. It's how to do this in English, but it's about the world being almost unrecognizable. This is seeing how strange the world is. And we do this in that painting that we instantly recognize. And it's a painting of...”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, true, and it's only like Like eight lines or something in the Bible is almost nothing. And it's so rich and it's like it's bottomless. They have been discussing that and reading that for thousands of years and you can still say something new about it. That simple story. Brother killing another brother. I'm just reading about agnosticism now and they take some of them for kind, which is they like to turn everything upside down so God is really the dead devil and this really is hell and kind is really the good one, the one to look into. And it's just an endlessly. Fascinating thing, and it means so much, so many layers of meaning in that simple, simple story. And that's the best part of the Bible, those very short stories, incredibly rich and layered with meaning.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Thought, what if I read the Bible from that perspective? What happened to the angels? Where are they? Because they saw angels before. We don't see them. And then I thought, okay, maybe they have been tempted to be in the physical world too much. And then kind of been almost centrifuged into the world and being part of the world and can't escape. And they still have around us. That was the thought. And it's in a kind of a way, it's a metaphor of what happened with religion, why, you know. Accept commercials and TV programs and stuff. What happened with religion? What happened with God? What happened with heavens? How come we are all down here now and what's that about? And that was not why I read it, but that was the outcome of write it. But that was the outcome of the writing.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I really don't know. I've always been interested in the physicality of man, the matter, the brain itself, the physicality of the brain, the way we are... Animals, the way we eat and the way we have taken the world in and the primitiveness of us. And then the heaven above all the things we dream of. And when I read the Bible, something that occurred to me was the physicality of the angels. That's such a wonderful image. And I thought, okay, they were either eating in the Bible and they're walking with God in the Bible.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“But I have helped us to help me. So the one who picked me up from nothing and he's still my editor. I really couldn't write when he saw something I've written and believed in me. He still believes in me and he has to tell me that every week. What I'm doing is interesting, what I'm doing is good and that he believes in me. And he's done so for 20 years. Without him, I wouldn't have been a writer. And I also have friends who do the same thing, say, okay, this is good. Don't give up. Keep on writing. I need it because if not, I wouldn't have the strength to do it. Maybe I would, but it makes my writing life much easier to have help us.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“And I met also a writer that best writer is Colleen Foss, and he was 29 at the time, and he was a teacher there. His notion of quality is absolute, and he was very, very important to me. Just because he showed me where the level should be. I haven't reached that level, but I'm above where I was when I was 20 at least. And it was very good to know that. This is literature. This is what literature can do. But it was completely terrible for me at the time and yes afterwards because I couldn't had no self-confidence that took away all my self-confidence. I couldn't write.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I learned a lot. What can I say? I was like running into a wall. I was running full speed into a wall and I fell down and I lay down for like six, seven years. I couldn't write after that. I was completely. I was a young when I started all this illusion about myself and about literature and what I could do and I couldn't do anything. And I felt like there were ridiculous me. And they were, actually. It took many years, and then I could write. And what I learned, I met the world literature.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Then in the 70s it was very sexist, very racist and all kind of things. My mother discovered what I actually was reading, so she said if she forbid me to read comics. which was very harsh punishment it felt at that time but made me start to read books so it was a good thing in the end but she was completely shocked by I was reading, and it was common, but that was the 70s. I think it has changed maybe, I don't know.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, when I was little, it was Lee Fox Phantom. That was really big in Norway. A bit older, he was modesty blaze, but I read absolutely everything.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I wanted to say, and I wanted to be free and to talk about, to write about my own life in a complete and a free way. That's also why I admire writers like Petah Hank. We had the Yugoslavia controversy around him, and you have a lot of controversies around him. But what he does is he is there. He's hardcore saying what he thinks and stands for, no matter how ugly it looks from the outside. And that's what you can do in literature, no other place, I think. This is an internal struggle in every writer, I think. And it goes in almost all levels of society. I find it hardest to go to the private places that belong to my family and my life. But you have all the other political topics. You have a lot of things you can think of. But it's good that it's a struggle and it's good that there's an arena where we can have these fights.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“What I'm striving for in my writing is what I call literary freedom. And it's a space where I can be free in every sense, where I can say whatever, go wherever I want to. For me, literature is almost the only place you could think of that that is a possibility. And my fear is that that space is kind of closing down. I know you're closing it down yourself and becoming more afraid for what you're saying. Can I say this? Can I do this? That was, and these powers are so strong, you know. It's so hard to go somewhere. You know, now this is wrong or this is, you know, I mean, I did it with my struggle because I wrote about my family and I knew, of course, I shouldn't do this. And really, it is immoral to do this. And then I did it because I wanted to say what”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, I don't know really. I wonder if fascist literature, if that's even possible. It's like those are, you know. Those two concepts are not able to.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I think it's, you know, Calvino is Calvino. Is also very good, but he's not Bores, I think. And Calvino, I love. I mean, the baron in the tree, or what it's called, is one of my favorite books. And if I could write like them, I would, but I can't. Every time I have something fantastic, not right. I mean, in that sense, something that really could happen. I try to write it. They can't make it work. Just don't have it in me has to be some sort of realism. I have to believe in it myself. And the magic with Borges is that you believe it completely. He makes it completely believable. And his essays are, you know, absolutely wonderful. And in every little essay, every short story almost, you could pull something out of value. So now he's absolutely one of my favorites.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“No, no, I feel quite a contrary bogus, I think, is superior. I think he's a master, really a master. And I want to learn a lot from not in ways of telling the story, but what the story tells you about the world. He has been very influential in my worldview, basically, especially one called Clon Akbar as a short story. It's just the best short story I've ever written, I think.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“It was very funny, a very funny flaw, I think. I don't share that now. But he had also a mirror in his hat, so he could take out his hat and look himself, which is also very funny. And it was very little, very little man, loving medals and having a mirror in his hat. That's funny.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“When I'm outside of a novel, I just look at them and I think it feels so hopeless how are they doing this? How are they managing to do this? And if you think like that, you can't really write. It has to come, has to come from the inside, has to be within something without looking out. And what you are talking about is that's outside of books. And then you can start and be jealous and say, oh, or why did, you know, he get that grant and I not and why did I get so bad reviews and stuff? That's worthless. It's completely worthless. And I try to stay away from it as much as I can.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm not a jealous type, but I feel a will in the end. But that book, Death of Abandonment, was really, really outstanding, good. And luckily there's no competition here. So there's nothing to, I mean, I do what I can do. And then you have incredibly good writers everywhere in every country.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I've only read one throughout the book and that was Das Abandonment. And I would have cut off my left arm to write that book. I think it was so absolutely brilliant. Try the knee.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“That's hard. I'm discussing him and his influence in book six actually because he is a writer I absolutely admire and I think my writing is this doesn't reach up to his niece, his writing's niece, but my year in the no man's bay is a book that I read. I must have been in the 90s when it came out before being a writer myself or was it exactly at the moment I started to be a writer, I think. And that was very influential in his writing, you know, about the things that not belong in a story and the things that really don't belong in a landscape, you know, the areas between the city and outside of the city, the railway tracks, the grass, the fences, the kind of the world as it is outside of the story, I think. And he's... Yeah, it's just, I can't, I don't know, but they've always end the book about his mother is absolutely fantastic, I think.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I think that's his richest and best. And yeah, I think so. I love persona. And I do actually, even I know Las Fontria hates sit. I do Fanny and Alexander also. It's such a fairy tale touch to it, which I like. But not ever since from Marriage, I”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“And then I remember getting book five in the mail and almost accidentally I started to read. And it just kept on reading because it was so well done and it was in English. It was kind of removed from me, but still I recognized everything. And I think it's a world-class translator, Donald Butler. But an interesting thing in that regard is that I have another translator for my other books. She's a poet. She's half Norwegian, half American called Enmill Burke. She translates my language completely different. Is it completely different feeling of her language than his language? Both are brilliant but in very different ways. He's much more translated into an English novel and she's much more translating into a Norwegian feeling English and she's much more close to my language and he's much more above but on both comes from the same writing very different.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I think Translations are excellent. Donald Bartlett, he translated five and a half of the six books. Martin Aitken, The Last Part of Book Six. He asked me in the beginning if I wanted to, you know, how hands-on I wanted to beat it. I don't have anything to do with it.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, yeah, yeah. But, you know, it's like it then becomes proper storytelling, it becomes literature, you know, and that's very strange to witness, but also very nice.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“No, I don't read my books and I don't listen to them. But I have in Germany, they have readings very different from here. It's readings. So you have like an interview with the writer for maybe five minutes, and then it is like one hour of reading. And I have, when it's a foreign writer, have actors reading. And that has been some incredibly nice experiences if there is a good actor reading. It's like he makes the book into, has nothing to do with. Is it better than you?”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“You can't tell a young father what to do, what not to do. You have to find out yourself. And the thing about the book, which I'm happy about, is that it covers a process, and I wasn't aware of that really, but very short period of time, really. I wrote it in two years. And as you say, have I forgotten everything now in my head, but it's in the book, it's captured in the book. You see how I was thinking. You see, yeah. you know, one mistakes I did or not did or whatever, but it still is like a slice of life that's in those books.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, yeah. I mean, there's so many things I did that I wish I hadn't done. But that's most of them matter, right? Yeah, yeah, but that's life. That's how it is. And you can't undo it and you do have to experience things and learn things”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Too busy raising children and too busy trying to survive that I can't really afford to think in those terms. I remember when I got my first daughter, I thought, you know, and I was full-time with her, I thought, this is very unmasculine and this is taking away my identity. And then I had three children and four children and who cares? I mean, you just deal with them and try to be good and go on. And it's the same now. It's about that. I mean, if that's bourgeois, if that's what it is, I don't care.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“When I was a teenager, I was very much in a position to it. But that's the typical pattern of some upholder, right? I don't really care. That's true.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, no, I really. It was hard for me to buy that one, so I... But I thought my excuse was that... I got a fee for the curation of the exhibition and I thought I could use the fee for buying a monk. So that's what I got. And it's just a drawing. So it's nothing really. But it's incredibly nice. To see anything with the good work of art is that you can't see it's every day and you don't get tired. It's like it gives endlessly and it's very simple, extremely simple, but it still comes something from it. actually which is what we want from piece of art”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Wolf and it was like maybe ten paintings or five paintings or seven paintings or fifteen paintings on them and it was a completely mix up with masterpieces, terrible paintings, sketches, mediocre things, old things, new things. And it was like being in a work of progress. If you go to museums, you see it's everything finished. Everything is almost stylish, then it's everything is art. This was completely different. This was entering into a process because the painting they have is the painting's monk had when he died. Everything he didn't sell. And when I did that exhibition, I thought that as an opportunity to try, because in Norway at least, you can't really see monk because you've seen it. He's so big and you see all the painting so many times that you can't really experience them. So I tried to use...”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I saw I was curating a monk exhibition in Oslo at the Monk Museum. So they gave me access to the magazine in the basement and I was shocked because it was, you know, you pulled out these enormous kind of...”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I think he didn't really care, I think. He wanted to Capture something And if he didn't do that at first instant, he moved on. But it kept all the bad paintings too. I found it also very interesting.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“That space is the same, the reading space and the writing space is basically the same, and you do the same things there in those spaces.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Disconnect from that. Don't think about it, the publication of it. So what I want to do is to be in that space where I'm writing. And it's also a way of me to understand what's going on, to see things that I normally don't see because I'm very much enclosed in myself and in my own space. And I don't really notice things. I'm kind of closed off to the world. So writing is a way of opening up also. So there's a lot of things, but I've been writing for so long now that it feels like a place I can go to, go into that place and sit down and I will be at peace as long as I am there, even though I write about terrible and heartbreaking things. It still is a place of peace. And I do find reading the same thing and always done that. I think that was why I read so much when I was little and when I grew up. And I think I became a writer of the moment I read.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, it's a place to hide. It is. I mean, that's obvious. It was a wonderful sentence and we told Gombrovich Polish writer who wrote his diaries are a masterpiece of the last century. It's really brilliant, but he published his own diaries when he was alive. And when they were published, he said, you know, I just have to take one step, retreat one step inside of myself. And that's what you do when you reveal so much about yourself. It's like you could just take a step back and it's all right. I mean, it's It's not even connected to you if you do that. It's like, okay, I never think about what people know about me or it's the act of writing is like for me a place I can go to and where I am protected somehow publishing books is a”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Monk made some remarkable self-portraits. I think he did so throughout his life and he started in 18, 19. And they were all very differently. And I think they were all very good. And this is one of the very last ones. And the thing with this is it's so incredibly simple. It's just a man standing there And it's like he's showing us that. This is it. There's no posing, there's no, it's like, there's no defense. And Monk was a man full of defense. And I think painting was a way. gets under the defense and reconnect with the world. And in this painting, that's what it do. It's like the god is down. This is what it is.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah. The scream is based upon an experience he had walking up the hill outside of Oslo, seeing what you see in that painting, hearing the nature scream. So it's in a way it's a self-biographical painting. The radicality of that painting is hard to get a grip on now, I think. We are very much used to that kind of distorted ways of depicting the world. It's a long story about a variety a lot about it in the book because it was fun because that's a painting that everyone knows and everybody has thought about. I tried to write about it afresh. What is this? What did it do? And I can talk about it if you like, but it's a long and complicated story. I don't know if I can do it.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Very much so. I realized the day he died and afternoon the day he died he read Dosevsky and then he died. So followed him throughout his life. And I think Dostevsky was part of his forming his identity as a painter. Exactly what's unfinished.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“And it is a certain aesthetic in that as well. It's the like, I'm rewriting that because it's like the difference between Dostoevsky and Tolstoy. Dostevsky really didn't care. He just, you know, didn't have to describe it fully. Just a few sentences done with that and go on and go on and go on looking for something like a flame or something burning or something, the intensity of something he was looking for. Tolstoy, you know, he wrote about everything and painted it fully and did so wonderfully, but it is completely different aesthetics and they reach completely different places. And when I was young, I thought Dostevsky was primarily the one that had reached the far. Now I'm older. It's Tulsta, really.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, I'm a kind of a careless person, so I've, and I don't take backups and I have a window open, it's raining on my computer. I've lost a computer down on the tracks with trains, and I've lost them. And it always turns out well. But that's not the same. But I don't care about how a book looks. deal with that part of it at all. And when I'm done with a book, it's hardly no editing. I just leave it and publish it and I want to move on because it's a process of doing this that interests me, not the result. And I really hate it when my book is done because then I know it will take a few years before I will get into something else. So in that I can recognize monkey. He hardly finished a painting in his life. He just, you know, and he was very reckless with his paintings.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I don't have a Hansiaga, but I have this writer I really admire, and he's really something. Who's that? That's called Tuv Not translated into English. This is very wild. Wild as a person, wireless a writer. He has inspired me a lot and showed me what's possible to do in writing. But he's so particularly that it's hard to translate him. But it could be like if he had been writing in English, he would have been, I guess, the level of Thomas Pinchon or whoever he's that good. But he's so idiosyncratic that it's hard to translate him. Yeah, but he's not my Hansiaga, but he's an influence.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“kind of hopelessness really to be here because you can't do anything about it it's in the structure in the society but then also it makes it incredibly the variation incredibly and the richness incredible and so it's it's a very much an alive city being coming from Norway it's very different you know it's like all kind of things going on simultaneously which is incredibly interesting and nice to at least not know if it had part of it but to see and to be around but it has that backside with with the privilege being you know going around and around and around and around in the same kind of class and the privilege the same and there's no kind of way they connect you can't move from one to the another that's going to name society is a much more egalitarian in that sense”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“I think it's to me being an outsider, it's both the worst and the most interesting. That's a huge difference between the classes. It's the extreme poverty, and then you just walk up a hill and it's incredibly rich. And it's also very, very much, it's not only a matter of classes, but it's, you know. And there I live, the poor area. It's a black area. Then you go up the hill.”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source
“The country, but it's not in a, I don't think it's in any bad way at all, really. It's a very innocent. No, it's a very innocent country”
2019-05-08 · Conversations with Tyler · Karl Ove Knausgård on Literary Freedom · IDENTIFIED FROM THE TRANSCRIPT · source