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Min kamp : Roman : Sjette bok av Karl Ove…
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Min kamp : Roman : Sjette bok (urspr publ 2011; utgåvan 2010)

av Karl Ove Knausgård

Serier: My Struggle (6)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
3071465,134 (4.01)19
Sjätte och sista delen av en självbiografisk roman. Här skildras utgivningen av de tidigare delarna och pressen att slutföra arbetet. Därtill en studie i litteraturen och dess förhållande till verkligheten.
Medlem:rolfmblindgren
Titel:Min kamp : Roman : Sjette bok
Författare:Karl Ove Knausgård
Info:Oktober, 2010
Samlingar:Ditt bibliotek
Betyg:
Taggar:Ingen/inga

Verkdetaljer

Min kamp. 6 av Karl Ove Knausgård (2011)

  1. 00
    The confessions / The reveries of the solitary walker av Jean-Jacques Rousseau (JuliaMaria)
    JuliaMaria: Radikale Selbstreflexion aus verschiedenen Jahrhunderten
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» Se även 19 omnämnanden

engelska (9)  nederländska (2)  norska (1)  spanska (1)  tyska (1)  Alla språk (14)
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At long last I have reached the final page of this saga. As I've mulled over the full experience experience of the work, 1-6, the overarching subject is the emergence of a human (male) (artist) from childhood to maturity. At the same time Knausgaard assumes that while his is particular and further tempered by his personality, he is nonetheless the same in the essentials as everyone else. K believes (and I agree) that human society demands that we not be open about many aspects of our life experiences--even if what is taboo shifts and changes through time and cultures--so that early on we are taught to dissemble, hide, outright lie etcetera, about things we have done or not done that are not 'the norm' and we do not tell the truth about our experiences or how we feel about them.

He attempts to do so here. Ambitious in both the good and bad senses of the word (as in, a worthy endeavour/doomed to failure) So much of the writing in the previous five books had a transparency and flow--I mean simple language, simple sentences, often simple subject matter too. It's easy to scoff and mutter that all he is doing is writing about himself and anybody could do that. But that's the point: WE TURN EVERYTHING WE EXPERIENCE OR FEEL INTO A STORY, A FICTION. And it is impossible not to skew that story in our favor.

Humans crave coherence, need to maintain order in our heads as well as in our homes. Some argue that a biography says more about the writer of the biography than the subject. An autobiography is naturally skewed and we expect and forgive (especially if there are a few unflattering stories to give an impression of balance). A novel can be more truthful than either of the above by honing in on the actual experience creating a person who doesn't 'exist' and therefore doesn't have to observe any norms. (Well, usually there are repercussions for that individual within the novel itself for violating those norms, but we get to be in the person's head meanwhile.)

This need to create order is arguably one of the most distinguishing characteristics of homo sapiens. Not a necessity, but a compulsion.

This final novel brings clarity to the whole. The structure of Book 6 while anchored to a particular time period in K's life (he's around forty, the oldest child is 6ish and about to start 'real' school) is loosely threefold.

First. The issues of the public and family response to the books that have emerged so far (that was confusing to me as here the books came out more slowly)--in particular K's conflict with his uncle over whether he was telling 'the truth' about his father's death and his subsequent role in the aftermath. All else aside, K has violated a norm and has dragging the family name through a tragedy and a disgraceful ending that should have been kept secret.

The second part involves a close look first, at a particular poem by Celan and then at the earlier part of Hitler's life. In the poem K explores Celan's theme--the chilling question, so central to Hitler's success, of turning individuals 'someones' into 'no ones', from 'we' to 'they' and from there to 'other' and therefore not having any rights as human beings at all. Hitler, the frustrated artist, grew up to be a man driven to try to make the vision of a perfect order, the fantasy that sustains him, in his brain come true. He was a man who found his true home and calling in the orderliness of the army life in WWI. K is, of course, putting together his own version of how Hitler came to be but I would say he tries to work forwards making an effort to figure out what the hell went so wrong for this man as a child and young man that he felt obliged/inspired/driven to murder millions of people as a kind of living nightmare/fantasy made manifest, instead of painting landscapes and designing buildings.

Getting through this section of the book was an ordeal. I could not read more than ten or so pages about Hitler at a time and that meant slow going. I felt tainted also reading the actual quotes from Mein Kampf.

K is not comparing himself to Hitler -- not even remotely -- or maybe possibly as an example of the artist gone bad in the most extreme manifestation. (Ok, I am simplifying). There are many questions embedded here, among them the most disturbing: We seem to have to make some individuals into nobodies in order to feel like a somebody. This is possibly the single scariest and tragic aspect of the human psyche.

In the third and last section K returns to his 'ordinary' family life, as he grinds along trying to finish this very last book, his wife succumbs to a major bipolar episode alternating between pure chaos and pure absence. Some feel the episode is triggered by his 'success' overshadowing her own writing life. Well, maybe, but I think it has just as much to do with having had three children bing bang bong, all of them five or under at the start of this book.

There are always very funny and touching moments, as well as some incredibly annoying ones when you want to yell at K (the K's are terrible with money, just shockingly bad). K's aversion to strangers means there's no chance of, say, spending the money wasted on a country cottage (which they trash) on a bigger apartment with room for an aupair or whatever or at least hiring someone to look after the children for a few extra hours, or clean the house, or shop and prepare meals! But whatever. When Linda is in hospital K even refuses the household help that would have been free! They depend on their two mothers (and what a cliché that is, like grandmas have no other lives but to serve their children and grandchildren?). I am sympathetic--small children are a full-time job and you can't imagine ever having an uninterrupted moment and yet you are so in love with your children you have trouble letting others care for them--you lose most of your ability to make rational choices. All understandable.

You see how easy it is to criticize K's choices because he puts it all out there, all the dirty laundry, mistakes, bad days, and so on. That's why we generally don't let on what is really happening!

The whole of this last book circles around the question of the private and the public selves and how they interact, intertwine and affect our perceptions and behaviour. I would say that K's view of the matter would be, as demonstrated by the work itself, that the more that is out in the open, aired so that an attempt to understand can be made, is better.

If I had ten stars to award I would *********. ( )
1 rösta sibylline | Jun 9, 2021 |
Review forthcoming. ( )
  chrisvia | Apr 29, 2021 |
I was reading Klemperer in the early days of Manny's reading this series and it stood out like dog's balls that this book here was simply a Hitler act. The guy writes like Hitler, behaves like Hitler, and collects the salivating fans, just like Hitler.

I myself read the first 2 and a half pages of volume one, which was quite enough to determine that the next 3,008 pages were well avoided. Meanwhile, I remain mystified as to why people would want to be part of this Norwegian-Hitler craze; as mystified as I hope I would have been if I'd had the misfortune to have been around during the first Hitler's reign.

The thing that mystifies me most is that people are hooked because they want it to be true, just like people wanted the original Hitler's bullshit to be true. If the Norwegian-Hitler hadn't got up and said a bunch of times in public, as well as in his own fucked-up writing that it was all true, nobody would be reading it. And yet, because the dude was willing to stand up and say it was all true it's what it is. OMG it's like SO amazing? He talks about how his neighbour's a hooker? And about his wife's being SO fucked-up? I mean, more than he is, even? It's like one of those TV shows with weird fucked-up people in it? Except that is's like literature? So you can read it and you aren't JUST getting the vicarious pleasure of reading shit about people? You can say it's like an amazing work of art too? And OMG, everybody's reading it?

Sigh.



  bringbackbooks | Jun 16, 2020 |
Noooooo!!!!! I can't believe the My Struggle series is finished for me. This is beyond the usual book hangover - someone get an IV drip line set up.

So this final instalment was the biggest yet (1,153 pages), but was also a change in many respects from the form of the previous 5 books. As Knausgaard is writing Book 6, the previous books are now at various stages of being published, so this volume feels more like a real-time memoir as opposed to the novelised form of an embellished memoir that was typical of the previous books. In many senses, Book 6 feels like mental closure for Knausgaard on the series - his opportunity to come full circle on the project, setting the record straight on the truth and intent of it amidst members of his wider family becoming embittered and litigious on what has been written as the books start to be published.

Divided into 3 sections, the first section is very much centred around the stress of Knausgaard's uncle Gunnar's reaction to Book 1 when he receives a copy before publication. As he faces the reaction of those who are detailed in his books for the first time, self-doubt begins to surface. Does he have the right to write about his own past? Has he remembered the key aspects of the past truthfully?

As Gunnar pushes for anonymity for himself and his brother (Knausgaard's father), the second section becomes a complete departure from form, taking the topic of the importance of a name into a 400 page philosophical essay segue on the topic of the critical differences between I, we and they, and the impact of anonymisation on the perception of someone as an individual. Some 70 pages of this were devoted to a line-by-line, word-by-word analysis of a Paul Celan poem, which acts as a prelude to an examination of Hitler's rise and anti-semitism in Nazi Germany, interwoven with biblical analysis. At a high level in this section, Knausgaard is examining the interplay between art, politics and religion, but the subtle subliminal message is his argument for not anonymising his father in the book.

Section 3 then brings us back to usual Knausgaard writing style. Time is further accelerated with more books published, and as he begins to focus on the completion of Book 6 his wife Linda enters a period of serious mental illness.

Three very different sections which felt in many ways like 3 separate books, although Knausgaard successfully ties them together. In the first section, Knausgaard comes across as a bit of a self-obsessed bore who is selfish with his self-wallowing time and introspection. In the first few books he humorously comes across as a bit of a dick as a youngster. By the end of the first section of book 6, I was beginning to think he might just be a bit of a dick full stop.

The first part of section 2 didn't work for me. He opens up by stating that he's always felt inferior because he doesn't understand poetry, yet then goes off on a 70 page examination word-by-word of the Celan poem. This felt like a selfish departure from the main thrust of the novel, a chance for Knausgaard to prove to himself and his readers that he does deserve respect as a credible examiner of literary text. Whilst I could put forward a similar argument for the Hitler segue, I found this part really interesting as I've not read in detail about Hitler's life before. On one level I could be unkind and accuse Knausgaard of simply bringing a number of texts on Hitler together (including Mein Kampf) - he relies on much of the actual text from other books in this section - but overall I think that would be doing him a disservice. His analysis of the popularity of Hitler and the important differences between the viewpoints of I, we and them was extremely well done, and I can see how he has successfully gone on to write other books which are of a more philosophical and critical nature.

The third section was probably my favourite of the three, but the one that gives me the most personal doubt. Was it right for him to have written in such graphic detail about his wife's mental illness? Does this cross a moral line, or was it necessary to maintain the truth of his project right to the end?

In all, this was a rollercoaster finale to the series that takes the reader in all sorts of unexpected directions. Does the series finale need a 400 page philosophical critique taking up a third of it? Does it work? Yes. No. I can't decide. It's so out there, and so at odds with the rest of the book and the series, yet at the same time I think he might just have pulled it off. Would I ultimately have preferred to have read section 2 as a separate book? Quite possibly, but then wouldn't that just have been something more ordinary then?

For sure this is a series I'll have to come back to again at some point. It deserves re-reading, multiple times. Knausgaard successfully concludes the series, to the detriment of us readers. How will we cope with not reading in his words about his subsequent divorce from Linda, his move to London and his new partner? Don't we deserve to keep spying on his life indefinitely?!!!

4.5 stars - my literary crush remains intact. Knausgaard is joining Bowie in my personal true-love-lasts-a-lifetime wall of fame.

PS - So is he a dick? In conclusion, yes there is a strong chance he is, as this project has ultimately been a selfish and self-absorbed journey, but still - we've all got our crosses to bear ;) ( )
  AlisonY | Jun 4, 2020 |
Ganz am Ende verrät Knausgard, dass er sein Manuskript verworfen und diesen sechsten und letzten Teil in acht Wochen komplett neu geschrieben hat. Und so wirkt er auch. Zuerst verrät er uns, dass er sich mit Poesie eigentlich gar nicht auskennt, nur um sich dann am Ende des ersten Teils in Poesieabhandlungen und einer Rezension von "Mein Kampf" zu verlieren. Er hat damit auch mich verloren - ich habe das Buch zur Seite gelegt, andere gelesen, und mich in kleinen Happen von ca. zehn Seiten am Stück durchgequält.

Der zweite Teil ist dann wieder frei lesbar, und zeugt von seinem Alltag, der vor allem im Umgang mit einer manisch-depressiven Ehefrau besteht.

Ich würde die Serie wieder lesen, auch wenn ich mir wünschte, der sechste Teil wäre nicht der schlechteste daraus... ( )
  cwebb | Oct 8, 2019 |
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» Lägg till fler författare (5 möjliga)

Författarens namnRollTyp av författareVerk?Status
Knausgård, Karl Oveprimär författarealla utgåvorbekräftat
Aitken, MartinÖversättaremedförfattarevissa utgåvorbekräftat
Bartlett, DonÖversättaremedförfattarevissa utgåvorbekräftat
Huttunen, KatriinaÖversättaremedförfattarevissa utgåvorbekräftat

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