She writes that it hurts a lot

in the Midst of life, with a husband and children, I feel the in the Sara Villius , a new novel, ”the Madonna” to save them alone. It was more than a decade si

She writes that it hurts a lot

in the Midst of life, with a husband and children, I feel the in the Sara Villius , a new novel, ”the Madonna” to save them alone. It was more than a decade since we last got a read on a new Villius, but the tone, grundkänslan, ensamhetsestetiken can be recognized. And now, after a silence, the type of the ' 00 century, unglitterära the star of a writer who tries to write, but have forgotten how to do it. It will be up is next to nothing.

She's also trying to find their way around in the other one, supposedly in real life, of motherhood, the nuclear family, of the brushes, and dirty laundry, but it may not be, don't want to. None of the identities of which are to her, to him dressing up. Still life is just a dull unhappiness – ugly sorgkanten under the nail, and a prickly, difficult requests.

as the life experiences that Villius is doing, the literature is very common, as painful as a day, have long been linked with a halvobligatorisk choreography: a little bit of infidelity, and the other flängigt sad attempt to get out of this self-imposed prison. That never helps, never will be, other than aggravating a confirmation of how still and static all have been, how over, most of it is. So, too, here.

It is very well done.

But in the case of normal grief and the loneliness, in the midst of life's certainly not an aesthetic object. ”Madonna” is an edgy, dark romance. A small scale, check the listings, as sometimes it consists only of a few sentences, and are rarely longer than a few pages, the rough and jerky in the prose, but filled with a sad touch. Villius writing, so it hurts a lot.

in Particular, when she was coming in the shed, ambiguously, both the affirmative and the destructive nature of desire close by. The unnamed jagberättaren is driven by a deep, echoing närhetslängtan, out of a desire to see and be seen, touched, and this is portrayed beautifully, as a kind of covetousness of physical attention. That is, the eyes in the back of the neck, small of a sensor, the radiation, you know, in the arm where it is close to one another, which is very well done. The desire to become sexy, a way of being in the room, walking down the street, ask for the gaze and at the same time, be easy to escape after it is given.

”Madonna” is a direct-to continue the novel.

in addition, It is very, very sad. Isolated, locked in. That desire can't seem to articulate, communicate through a single glance, a lingering hand, a short, mature, thin, the connections that are passing through, is lost, as hopeless as it is in spite of everything is permanent, halvdöda of the marriage. Not enough ”How can I help you today? Time and time again, and I cried out. Some are blessed again, I've got the answer. However, I still continue to cry.”

to be Sure, it gets a little messy at times, and tablåberättandets not dramaturgins the more difficult tricks, transitions, passages that are creeping to the point, instead of slapping it in the reader's face is limiting, but Villius has been able to create a pretty great thing to have, and require, not necessarily in a good literary technique.

She has written something that feels very true-life is a compromise, hard to bear, but it's still so easy to continue the shoulder.

”Madonna” is a direct-to continue the novel. And one of the world's finest.
Novel
SARA VILLIUS.

Madonna.

Collins, 220 pp.
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as the Victor of the Ore is a critic and editor in chief of the Swedish newspaper Expressen kultursida.

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Updated Date: 01 November 2019, 01:00

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