Fiction – hardcover; Harvill Secker; 291 pages; 2021. Translated from the Norwegian by Ingvild Burkey.
The light from inside sifted gently down over the snow on the pavement, and the street lamps turned everything yellow and each street lamp had its own circle and no circle touched another and between them there was silence.
The King of Melancholia returns with what may possibly be his best novel yet.
Men in My Situation features many of Per Petterson’s trademarks:
✔️ A solo man, with working-class roots, a bit down on his luck and prone to introspection
✔️ A focus on past relationships (both sexual and familial) and how they have panned out
✔️ An emphasis on place
✔️ An exploration of grief, occasionally manifesting in violence
✔️ Loneliness, regret, melancholia and depression
And it’s written in prose, translated from the Norwegian by Ingvild Burkey, that is assured, eloquent and evocative, ripe with detailed and often beautiful descriptions of snow-filled landscapes and city streets.
Arvid is adrift
He’s a mildly successful writer (enough to be recognised by people in the street, anyway), but things aren’t going particularly well for him. He’s alone and adrift, desperately missing his three daughters, and clinging to the routines that mean something to him: driving his old Mazda around the quiet streets of Oslo (and sometimes sleeping in the car), going to bars and drowning his sorrows in booze, and occasionally going home with women for meaningless sex.
The breakdown of his marriage haunts him. He knew things were getting bad when he and his wife, Turid, stopped going to bed at the same time — “We’d become like magnets with identical poles turned towards each other, plus to plus, minus to minus” — and started quarrelling more about silly things that “suddenly blew out of control”:
I didn’t understand why and wanted it to stop, I wanted to get away from it, but I didn’t know how, we were like two bicycle wheels stuck in a tram rail, and it felt ominous because she was unafraid whereas I wasn’t, and a trapdoor beneath my feet might open any second.
But overshadowing this is a fog of grief: a year earlier his parents and two brothers died in the Scandinavian Star ferry disaster and he’s wrestling with how to process this loss. (Petterson himself lost his mother, father, young brother and a niece in the disaster, and it’s a recurring episode in the Arvid novels.)
Arvid measures time in the distance between his wife leaving him and the ship burning.
I thought, how does one measure grief, is there a yardstick for grieving, is there any difference, say, between grieving for one person as opposed to two or three persons, or even four, as in my case, did all this fit on a yardstick, or could the level of grief register as on an instrument, such as a Geiger counter, and the closer the instrument got to the full power, the full height, the full number, the faster and louder the instrument would emit its familiar beep. And how was I to know when there was grief enough, and if grief was liquid like melting silver, could one then pour the grief into a litre measure and conclude, under these circumstances, eight decilitres ought to be sufficient, and let the silver congeal hard and shiny not far below the rim. How was I to know.
Deeply introspective narrative
There’s not much of a plot, but this is not unusual in Per Petterson’s work. Instead, we get a deeply introspective narrative about a divorcé grappling with fatherhood and newfound circumstances, of a man who is acutely aware of his weaknesses but not confident enough to overcome them, someone who wants to be a better person but isn’t sure it’s worth the effort.
He fills in his time trying to repair the relationship with his young daughters — his eldest no longer wants to spend time with him, and she’s convinced her young siblings likewise — and getting back in touch with his old childhood friend, Audun. (Petterson fans will recognize Audun from an earlier novel, It’s Fine by Me.)
There’s a terrifying sequence in which he takes his daughters on a road trip, only to run off the road doing a dangerous, unthinking manoeuvre in a pique of anger, and while no one is injured, Arvid is aware that if his wife finds out his access to the girls may be taken away. The slide into desperation, of keeping secrets from his ex-wife and of behaving recklessly, becomes more acute as the story progresses.
But it’s not all predictable. Arvid’s melancholia and his tendency toward self-pity come into sharp relief when he discovers that his eldest daughter has health issues. This forces him to play the role of a caring, dedicated father, someone reliable and trusting, someone who can rise above “men in my situation” to do something positive and helpful.
The book ends on an optimistic note.
For another take on this novel, please see Joe’s review at Roughghosts.