A Scandinavian son faces loss and regret

August 12, 2010|Chuck Leddy, Globe Correspondent

Norwegian novelist Per Petterson’s spare and tactile prose captures the frigid beauty of Scandinavian landscapes and the similarly frozen emotional landscapes inside his characters as they struggle with loss, regret, and the complexities of love. Like Raymond Carver at his intricate best, Petterson illuminates the meanings behind the smallest gestures, the quiet moments in the aftermath of loss when the pain is so deep that it can’t be verbalized. Petterson writes a kind of post-traumatic fiction that dives into the depths and pulls from the wreckage dark and unforgettable treasures.

In Petterson’s heartbreaking “Out Stealing Horses,’’ we saw Trond Sander struggling to understand why his father had abandoned his family. The adult Sander is so devastated that he moves to a cabin: “I lost interest in talking to people,’’ he explains, and Petterson’s novel becomes a kind of gradual thawing. In his latest, “I Curse the River of Time,’’ Petterson explores the distant relationship between a mother dying of cancer and her adult son. Petterson’s narrator is Arvid Jansen, who hears that his mother is dying right in the middle of his own divorce. Arvid is rendered almost catatonic: “No act of will would get me out of this state. . . . At times, the only option was to sit in a chair and wait for the worst ravages to calm down so I could perform the most basic tasks, to cut a slice of bread, to go to the toilet.’’

As in “Out Stealing Horses,’’ Petterson’s narrative interweaves the past and present, both converging at the end in a way that seems inevitable and deeply satisfying. As a college student, Arvid had become a communist and then quit college to join the proletariat in factory work. His incensed mother, already working a dead-end factory job, had responded by calling him an idiot. Arvid becomes a study in alienation, learning to suppress his own pain: “I could swallow whatever hit me and let it sink as if nothing had happened . . . it looked like what I was doing had a purpose, but it did not.’’

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