Per Petterson
Per Petterson
Per Pettersonis a Norwegian novelist. His debut book was Aske i munnen, sand i skoa, a collection of short stories. He has since published a number of novels to good reviews. To Siberia, set in the Second World War, was published in English in 1998 and nominated for the Nordic Council's Literature Prize. I kjølvannet, translated as In the Wake, is a young man's story of losing his family in the Scandinavian Star ferry disaster in 1990; it won the...
NationalityNorwegian
ProfessionNovelist
Date of Birth18 July 1952
CountryNorway
To tell you the truth, I don't edit much at all. Most times, when I have finished the first draft, that's the book. Of course, I work on the page I am on until I am happy with it. I might even say that I try to state the landscape.
There is always this quarrel about what is preferable: the straight, naturalistic, epic storytelling or the modernistic, disjointed, slightly hermetic one. To me it does not matter, as long as it's good. I like both kinds. Although the common reader seems to prefer the first, which is to be expected, and who would blame her?
I come from a working-class family. They're the people I know and the people I love, I guess. I do not write about them for political reasons, but because, as I see it, most interesting things - social, political, emotional - take place there. It's a bottomless well for an author like me.
At first I wanted to go to university, but I really didn't dare to. I was too self-conscious, being a working-class kid. It was really difficult. I was going to study history, but the professor asked me some questions I didn't understand, and I didn't dare to ask what they meant. I left university and went to work in the Post.
Living here where I live, on a farm way out in the countryside, in the woods, in fact, I have plenty of time to be alone, and I like it. I always have. I like my own company. And I am not the only one who feels this way; a high percentage of the Norwegian population feel as I do.
I'm a family-based person, even though we didn't exactly have a very happy family. I was never in any doubt that this was a centre of writing.
When my mother talked about her brother, there was this light in her eyes. I thought, 'This is the basis of a novel.'
'In the Wake' was a very bleak book. This relationship was not too good, the father and son. This time around, I wanted a father and a son who really loved each other, which would be visible on the first page and would still be there on the last page.
To say that a family is happy I think is to diminish it, taking out what is interesting. Growing up, I don't think my family was any happier or unhappier than anyone else's. My mother and father should have been divorced or never even married. On the other hand, I remember many moments of happiness.
The important discovery I made very early is that my novels had to be written without any given plan or outline. I can't do it in any other way. But then they are dependent on the sentences, my intuition, and, as I have experienced many times, the subconscious.
A dead dog is more quiet than a house on the steppes, a chair in a empty room.
If I just concentrate I can walk into memory's store and find the right shelf with the right film and disappear into it....
Time is important to me now, I tell myself.Not that it should pass quickly or slowly, but only be time, be something I live inside and fill with physical things and activities that I can divide it up by. so that it grows distict to me and does not vanish when I am not looking.
You decide for yourself when it will hurt.