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Archive for the ‘Norway’ Category

SOUNDTRACK: AURORA-Verftet Online Music Festival 2020 (April 20, 2020).

In April 2020, Norway’s Verftet Music Festival streamed an online concert:

Get ready for Verftet Online Music Festival, Bergen’s largest virtual concert festival, where we can enjoy great music together. We want to turn despair and frustration into innovation and positivity, and invite everyone to a digital festival experience out of the ordinary – right home in your own living room.

Aurora played a 45 minute home concert for Verftet which you can see online.

The show starts with her at the piano (an unusual sight), playing the lovely ballad “Animal Soul.”  Then the drums start and Aurora and her band play a fantastic cover of the Massive Attack/Liz Frasier song “Teardrop.”  It sounds pretty cool on piano and even though Liz Frasier’s voice is unique in the world Aurora sounds terrific.

“Warrior” sounds very different from the recorded version, because it’s still rather quiet (although louder than the other songs).  Silja Sol has taken over piano and sings absolutely gorgeous harmonies.  Hearing the song stripped down shows what a powerful song it i

“All Is Soft Inside” opens with quiet echoing guitars and features more great backing vocals from Silja.  Although when Aurora sings a capella for a few beats it shows how great her voice is.  This song is really terrific.

Then she says something very Aurora: “I’m itching on my bum but I don’t want to do it on camera,  can you just film Magnus while I scratch my butt.”

Followed by some sage advice for pandemic times: “Its okay to be worthless, no not worthless, unproductive… we don’t have to do more than just exist sometimes.”

“Through The Eyes Of A Child” is a beautiful with just her and Silja on the piano.  The a capella verse with the deep and high harmonies sounds wonderful.  The song builds with the rest of the musicians adding in the guitar and drums.

“The River” grows bigger but is still restrained.  As is “Queendom,” her huge dance hit.  But even in this stripped down very it is still catchy and super fun.

“The Seed” is a wonderfully dark and powerful song.  For this quiet version, Silja plays quiet echoing guitar and the song builds into an intense climax (which is still quite restrained compared to the original).  But we can’t overlook the deep vocals from Magnus on the drums.

The set ends with a beautiful cover of The Beatles’ “Across The Universe” a song that will “take us away, a dreamy song… a perfect world… a beautiful hippie paradise.”  It’s a lovely gentle cover with amazing harmonies from Silja.

[READ: July 20, 2021] “After the Movie”

This is a very dark story.  It’s about Ed, a writer and filmmaker whose recent books have flopped.

He and his wife had just come back from the movies and his mood was foul.  He went to bed without saying good night to the kids.  Instead of falling asleep, he found himself sitting up and crying,

He genuinely considered killing himself.  He had no money coming in, they had borrowed against the house.  They had nothing left.  He was nothing,

Muldoon had called him this afternoon from Amsterdam.

Ed sat in bed and remembered back to when he was trying to perk up his friend Muldoon who was then having a similar slump. Ed encouraged him to hang in there.  And look at Muldoon now. (more…)

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SOUNDTRACK: IRIS-Verftet Online Music Festival 2020 (April 1, 2020).

In April 2020, Norway’s Verftet Music Festival streamed an online concert:

Get ready for Verftet Online Music Festival, Bergen’s largest virtual concert festival, where we can enjoy great music together. We want to turn despair and frustration into innovation and positivity, and invite everyone to a digital festival experience out of the ordinary – right home in your own living room.

I was completely unfamiliar with Iris, but she was the only other singer whose set was still streaming.  Because Aurora is a Norwegian singer in the same range, I feel like Iris’ voice sounds similar to hers.  But that’s a lazy comparison.

I suspect that she is a bit more poppy than this set lets on.  Like the Silja Sol set, it feels like a more “unplugged” kind of show.

It opens with “crawl for me” with she her singing to a guitar.  It’s quiet and powerful.  The rest of the band comes out for “mercy” which is “how i would like to to not show me any.”  There are washes of guitar s and keys, including a very cool, almost sinister keyboard sound in the end.

A cellist arrives for “kroppsspråk” which is a cover of a Lars Vaular song.  It’s kind of rapped–but in Iris’s more singing way.  It seems like the original is very dancey and she has dialed it back.

After a gentle piano solo version of “giving in” (her voice is lovely in the spare setting), she played “from inside a car,” my favorite song of the set which  has a breathy quality that I really like.

Then she throws in a Beatles cover.  “Here, There and Everywhere” is a beautiful gentle cover with just her voice and an acoustic guitar.

“hidden springs” stays with the acoustic sound, but she moved to a more techie processed vocal for “your mind, the universe.”  She has a few technical glitches for this song but when they are resolved her voice sounds very cool as it starts and then turns into a much bigger song.

As they prepare the next song she jokes that you shouldn’t eat crackers in bed, which proves to be the opening line of “hanging around you/crackers,” a sweet sounding breakup song.

Before the final song she mentions that all of her band is wearing band T-shirts: Iron Maiden, Metallica, Kiss and um, Reservoir Dogs(?).  It’s an amusing look for such a gentle show.

Before starting “romance is dead” she encourages everyone to visit my You Tube channel for recipes.  This set ending song is soft and lovely, just piano and strings and her beautiful voice.

[READ: July 15, 2021] “Road Trips”

When David was a kid, his father rallied the families on their street in Raleigh to plant maple trees.  For years they were tiny, pathetic things.  Now, decades later they are tall and majestic creating a canopy down the street where his father still lives.

He was home visiting his father who brought him to a block party.  At the party a teenager saw David’s father and groaned “Lou Sedaris, who invited her?”

“My son is gay,” the boy’s mother announced as if none of us had figured this out yet.  David was blown away that someone could casually announce this on the street where he grew up.  As a young homosexual David played all the games that the other closeted kids did.  Dated girls and claimed that sex before marriage was what dogs did–a true union of soles could take eight to ten years!

He kept his secret until he was twenty.  But he would have kept it longer had a couple not picked him up when he was hitchhiking.  It was 1 AM and he was picked up by a Cadillac with people his parents’ age in it. (more…)

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SOUNDTRACK: SILJA SOL-Verftet Online Music Festival 2020 (April 5, 2020).

In April 2020, Norway’s Verftet Music Festival streamed an online concert:

Get ready for Verftet Online Music Festival, Bergen’s largest virtual concert festival, where we can enjoy great music together. We want to turn despair and frustration into innovation and positivity, and invite everyone to a digital festival experience out of the ordinary – right home in your own living room.

Sadly, most of the performances are unavailable, but this one from Siljia Sol (who is also Aurora’s backing vocalist) is streaming.

She plays ten songs in about 40 minutes, singing entirely in Norwegian.

“Kometen” is a two minute opener.  It has trippy synths and feels like an introductory lullaby.  Silja has an amazing voice, with quite a range.  Here it is soft and childlike.  But “Superkresen” turns into a fully 80s dance song.  It fits perfectly with the totally80s visuals of her set.

“Hatten” continues the bounciness.  This song feels poppier with a quietly soaring chorus.  “Hultertilbult” is more guitar-based and feels more organic.  As does “Ni Liv” which has a more prominent bass line.  This song has nice soaring backing vocals from her guitarist.

I don’t know the originals of these songs at all, but this feels like a restrained rendition.  Not quite unplugged, but perhaps more suitable for watching on your couch.

For “Stemning” she moves to the piano and plays a quiet ballad–her voice is lovely here.

The dancing returns for “Løgneren.”  Throughout these songs, Silja’s voice reminds me of Aurora’s, probably because her voice is essential to all live Aurora songs (and because they are both Norwegian).  With Aurora Silja hits incredibly high soaring notes and she really doesn’t do that in her own songs.  Although she does hit some high notes here.

“Semmenemme” has a more rhythmic approach–with almost a rapping vibe.  “Eventyr” cranks up the guitar more with a nice groove behind it.

“Dyrene” ends the set with the most catchy song of the bunch.  It is more subtle but features some nice soaring high vocals in the chorus.

It’s fascinating listening to ten songs and having no idea (at all) what they are about.  I’m very curious to hear if her recorded output has a more or less 80s vibe going on.

You can stream the set here.

[READ: July 10, 2021] “Curving Time in Krems”

This story was really cerebral and metaphysical. as such it took a really long time to get to the point.  It was also an incredibly long story for what amounts to: boy calls girls he had a crush on and wished he had done so sooner.

The main character is an academic invited to a dinner party in Krems, a city that “resembles Vineta, the city submerged by waters.”  Snow had fallen making the oblivious old town even more deserted.

A woman at the dinner insists that her cousin attended classes with him and spoke about him recently.  He tells her this is impossible as he did not have female classmates.

He figures out that the woman is talking about Nori S.  But Nori was a grade ahead of him and there’s no way she would remember him.

For a seventeen-year-old boy, a beguiling eighteen-year-old girl is more inaccessible than a Hollywood diva is to a professor [that’s a weird simile, there].

(more…)

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SOUNDTRACK: Go_A “SHUM” (Ukraine, Eurovision Entry 2021).

Eurovision 2021 is upon us. It’s hard to follow Eurovision in the States, but you can see highlights and most official entries online.

I have been rather enjoying the folk metal genre, especially as practiced by Eastern European bands.  So I was pretty fascinated to hear about Go_A [Ґоу_Ей].

The name Go_A is meant to mean “return to the roots” and was made by combining the English word “Go” with the Greek letter “Alpha.”  There’s four members: Kateryna Pavlenko, Taras Shevchenko, Ihor Didenchuk and Ivan Hryhoriak

Lead singer Kateryna Pavlenko has a pretty fascinating backstory (if Wikipedia is to be trusted, and when is it not?).  [The entire quote is (sic)].

Due to unsatisfactory living conditions, she developed lung disease. As a teenager, she underwent several surgeries, including surgery to remove a lung tumor. After that she can’t sing in the traditional way. “The sound is not formed in my lungs or bronchi, because there is not much space there, but somewhere here (points to the back of the head). This is especially true of high notes, ”she said.

Her voice is quite striking–surprisingly powerful.  In the video, she looks as striking as her voice.  She’s dressed in an awesome leather jacket with a black dress.  She’s got some kind of metal(?) thing on her face–I can’t determine what it is., aside from cool-looking.

The song opens with a repeated unearthly sound–a kind of siren.  She starts singing in powerful Ukrainian as menacing chords emerge.  Then the song pumps along.

Once again the video is pretty spectacular as the band is driving in a kind of Munsters meets Mad Max truck.  The song is loud and fast with some big distorted guitars.

And before you know it, the song breaks and there’s a tin whistle solo and a jaw harp keeping pace (!).

In the middle of the song her voice sounds a bit less harsh as the music builds and fills in.  And then a throbbing bass bounces along to the tin whistle.  And after a beat the drop kicks in and the song is now twice as fast.

The video is pretty entertaining–the “story” is fun to watch, anyhow.  But as the song ends she hits a really high note–almost a screech.  In the video a hawk lands on her outstretched hand.

Nice touch.  Did they do that live during Eurovision?

UPDATE: No hawk live, and they came in fifth (with a really cool set).

[READ: May 10, 2021]  “Card Wired”

Back in the mid to late 1990s, David Sedaris wrote a few Shouts & Murmurs for the New Yorker.  It’s interesting to see a writer whom you know for a certain style of writing crafting jokes in a very different manner.  Shouts & Murmurs are rarely actually funny, and that’s true of most of these.

Obviously the topical nature of most of these means there’s a component of “wait, what was going on?”, but the set up usually explains everything pretty well.  Now we are more likely to say, “Aw, remember when that’s all we cared about?”

This piece is based on an article in The Independent that says greeting card companies are getting in on the “mass-therapy act” so if you buy enough of these cards you could hold an entire conversation with your loved one without opening your mouth. (more…)

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SOUNDTRACK: TIX-“Fallen Angel” (Norway, Eurovision Entry 2021).

Eurovision 2021 is upon us.  It’s hard to really follow Eurovision in the States, but you can see highlights and most official entries online

I tend to think of Eurovision as over the top and campy.

And, yep, I’d say this falls into that category.  It’s an over the top ballad–a remarkably simple melody and very straightforward lyrics (you’re an angel, I’m a fallen angel, will you ever notice me?).

The over the topness comes because as he sings this song he is wearing massive white angel wings and he is surrounded by half a dozen demons dressed in black with giant horns.

Upon hearing the song my daughter commented that his English was very good.  This is not surprising, him coming from Norway, but you can’t hear a hint of an accent.  And his lyrics are sung so clearly you can make out every word.

The whole thing is really quite mockable and yet it is so sincere it’s hard to hate.

Especially when you learn that Tix is called Tix because he suffers from Tourette’s syndrome and as a child he was bullied and called “tics,” which he has since embraced.

UPDATE: This judges were not moved by his story as this song came in 18th.

[READ: May 10, 2021]  “Let It Snow”

I found a stash of old David Sedaris pieces and since they’re all pretty old, they’re quite funny.

This short piece is very funny and, obviously, it’s about snow.

He says that winters were always mild in North Carolina when he was a kid.  But one year there was a snowfall that lasted for a few days–which meant the kids were home from school.

They quickly got on their mother’s nerves and were thrown out of the house.

They pounded on the door and rang the bells demanding to be let back in, but she just pulled the drapes and enjoyed her solitude (which meant wine, mostly):

Drinking didn’t count if you followed a glass of wine with a cup of coffee, and so she had a goblet and mug positioned before her on the countertop.

They decided the best revenge would be if one of them got hit by a car–“It was really the perfect solution.” (more…)

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SOUNDTRACK: MOLLY SARLÉ-Tiny Desk Concert #898 (October 4, 2019).

Molly Sarlé was recently on a Tiny Desk Concert with Mountain Man (who I heard but didn’t really see at Newport Folk Festival).

During the Mounatin Man songs, Molly tends to have the high harmonies.  In this session, she doesn’t sing especially high–although her voice is quite delicate.  It’s hard to believe she was a back up vocalist for Feist, not because her voice isn’t lovely–it is!–but because she doesn’t seem to be a very powerful singer.

The first Mountain Man album came out in 2010.  The second Mountain man album came out in 2018.  This is Molly’s first solo album.  During the intervening years, she did a number of things (like sing backup for Feist), but was apparently never sure if music was her calling.  And yet her songs are personal and powerful.

The songs Molly Sarlé performed at the Tiny Desk are all from her debut solo album, Karaoke Angel. These songs aren’t frivolous–at the heart of Molly Sarlé’s songs are stories. Sometimes they feel like dreamy inner thoughts loosely connected.

She opens with “Human,” a song I knew from a different Mountain Man show on NPR (Tiny Desk Family Hour).

 It may simply be a breakup song; but its wisdom is in recognizing our individual flaws, being OK with them and even finding pleasure in being imperfect beings.

Although interestingly at the Family Hour, she said it’s about how “unfortunately easy it is to talk to god like he’s a man.”

The song is fairly simple–a pretty melody and a steady one-two snare/hi-hat (Austin Vaughn).  In the Family Hour, the song was just her and her gently strummed guitar with backing harmonies.  It’s really lovely.  This version has an absolutely wonderful bass line (from Brian Betancourt) that runs through it.  It doesn’t detract form the beautiful simplicity of the song, it adds a nice counterbalance and I can’t really tell which version I like better.

Bob also says, “She’s a captivating performer who sings as much with her eyes as she does her voice.”  That is so very true.  She looks out at the audience throughout the song, with a possibly inquisitive look.  He blue eyes piercing through the lovely melody.

It’s weird just how funny Molly is–she seems fairly serious, and her delivery is quite slow, and yet she has a  great (or wicked) sense of humor.

Before “Karaoke Angel” she starts looking at the tchotchkes on the shelves.  She

began her fascination with the multitude of objects shelved behind the Tiny Desk back when she sang with Mountain Man earlier this year. This time, with her own band, those objects left by others inspired a tale of a sweaty towel, an old lover and more.

The item, labeled “Betty’s Boob Sweat” leads to a funny story of dating a ember of Feist’s band and the sad aftermath when she could feel somewhat jealous of a sweat rag.

After telling this story she ends with this amusing non-sequitur:  “No one should have to see their ex-boyfriend’s sweat rag on an other woman’s clutch.  Life is painful and this song is called Karaoke Angel.”

Molly plays the main guitar chords (so gently) while Adam Brisbin plays a quiet wavery slide guitar part.  The song sways gently and Molly’s voice is just beautiful–unadorned and clear and very pure sounding.

For all the quietness of the song, the lyrics are pretty amusing too:

I walked into a bar and gave my heart away to the first stranger I met who could remember my name.
I got up on the stage and sang at the top of my lungs Its so easy so easy to fall in love.

Each subsequent verse is about a man in the bar

Mike walked over / he was picking up what I was putting down / he said honey I am only gonna disappoint you somehow / oh Mike quit talking to me like you’re saying something I didn’t already know / I can tell by the beauty / of the furrow in your brow / you’ve been anointed by disappointment / and it might even be something you like.

Before the final song “Almost Free,” Molly tells the shockingly sad origin of the song, but has to laugh, because what else can you do

Molly cleared her throat and said this song is “about my dad wanting to talk to me about committing suicide — and it turns out writing a song about your dad talking to you about wanting to commit suicide is a great way to shift the conversation, because now we just talk about this song.” Molly Sarlé laughed a bit about the absurdity and truth of it all and, with what I sense as holding back a tear, sang a powerful, personal song in an awkward, open office space.

It starts out with just Molly strumming her guitar and singing.  It seems so stark and exposed, that when the rest of the band comes in and the song almost rocks a bit (sounding like a jam band song) that it’s comes as a relief.

This is a quietly powerful Tiny Desk and really shows off how beautiful Molly’s voice is.

[READ: Summer 2019 and October 29, 2019] The Helios Disaster

This is a weird book, to be sure.  It was written by the then wife (now ex-wife) of Karl Ove Knausgaard.  But it is absolutely nothing like his books.  Linda has her own style and perspective that makes these authors miles apart.  This book was translated from the Norwegian by Rachel Willson-Broyles.

It opens like this:

I am born of a father.  I split his head.  … You are my father, I tell him with my eyes.  My father.  The person in front of me, standing in the blood on the floor, is my father. …The blood sinks into the worn wooden floor and I think, his eyes are green like mine.

How at my birth, do I know that?  That my eyes are green like the sea.

He looks at me.  At my shining armour.  He lifts his hand.  Touches my cheek with it.  And I lift my hand and close it around his.  I want nothing but to stand like this with my father and feel his warmth, listen to the beating of his heart.  I have a father.  I am my father’s daughter.  These words ring through me like bells in that instant.

Then he screams.

His scream tears everything apart.  I will never again be close to him.

She removes her armor, puts down her lance and flees the building.  The neighbor, Greta, says she will help the girl, while the police come and investigate the commotion.  When Greta asks the girl what she wants, the girl says she wants to go to her father.  But Greta says that Conrad doesn’t have any children.

What is going on? (more…)

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SOUNDTRACK: RHEOSTATICSFall Nationals The Horseshoe Tavern Toronto, ON. Night 7 of 13 (November 16, 2003).

 This was the all ages Sunday afternoon 7th show of the Rheostatics 13 night Fall Nationals run at the Horseshoe.  Rheostatics Live has recordings of nights 1, 3, 4, 5 and 7.

This is the final concert available on Rheostatics Live for the 2013 Fall Nationals.  It was an all-ages show and as such was a bit more delicate than some of the other shows.

Hip Lingo opened the night. And then the band begins with a sweet mostly acoustic version of “Song of the Garden.”  Then Tim says, “This song “Loving Arms” was written by Dot, our good friend.

Once again, during “Aliens,” at the “distraction” line, someone starts playing the guitar melody from “When Winter Comes” and it does serve as a kind of distraction–they flub the song a bit.   Later, in the quiet part Tim starts playing the melody for “Artenings Made of Gold” on the bass.

“Tarleks” is described as the second in the Alien trilogy.  Mike asks if Martin has another yet to come.  Martin says, “I got a pack of em.”  They miss the segue to the middle but just play one more measure and catch up.

Tim says “we brought some spongy earplugs down if anyone needs them.”  (They’re so nice).

Dave has a question for the kids in the audience.  “Ozzy Osbourne funny or scary?”  Kids:  funny.  Martin:  funny and sad.  Dave says this is a song about the twilight of Ozzy’s career (Martin: and his awareness).

“King of the Past” is a quieter version.  You can really hear Martin doing great backing vocals.

They acknowledge Maureen at the craft table–it’s make your own DVD night.  Martin: She’ll give you a dirty look ’cause shes really mean.

A pretty “Northern Wish” and then a gentle “PIN.”  After the song, Martin plays the riff to PIN one more time.  Mike says: always time to practice.  And then a lovely “Mumbletypeg.”

There’s some joking and then someone says, “By the end of this run we hope to have beautifully constructed spice rack. There’s one shot of Mike on the DVD where mike looks like this.  We call it building the spice rack.  When you can’t come up with any more intense ideas at the end of a song so you just end up pounding the wall.”

This is a song about a girl.  “Claire.”  Was she a girl or a hallucination?  Or was she a really fast car?

For “Take Me In Your Hand,” it’s Mike and Martin singing gently with acoustic guitar.

During a pause Dave says, in case anyone is interested, Edmonton is beating Montreal 24-21 in the 3rd quarter of the Grey Cup.  Good game, jeez, we should get this over with.  Just kidding.  Strangely here’s a song about the CFL [“Palomar”].  We’re trying to get Tim to stop writing songs about football but he can’t.  It’s like a virus with him.  It’s quiet with some great backing vocals especially at the end.

“Here’s a song about nutrition.  More bands should write about nutrition.  A song about nutrition with a political sensibility.”  They start “Brea, Meat, Peas and Rice.”  Dave gets excited: “Really.  A clapping crowd, eh?”

He says Hi to his daughter Cecilia and then says “My dad is here.  Do you wanna watch the Grey Cup?  It’s on in the dressing room.”  Mike says, “Supportive father, extra supportive son.”

Before the next song, Martin says, “This is the actual Fender Strat that Jimi Hendrix ate at Mariposa.  See there’s the bandage.   He used to put pastrami in his sweatband so he could get nourishment while he was playing.”  It’s a beautiful “Here Comes the Image” with a special thanks to MPW on keys.

“Little Bird” starts very quietly with percussion in the form of “shhs” but it gets big by the middle.

Introducing “Stolen Car,” Martin says, “This is a song about stealing really expensive stuff… or dreaming about stealing it.”
Dave: “Sort of like The Bob Newhart show.  It was all a dream.”
Martin: “Really? the last Bob Newhart?  How old is Bob Newhart?  He must be like 95 [he was 74!].  He’s been going forever.  He looks the same.  He was on the TV.”
Dave: “Wow he’s going places if he’s on that thing.  Although I don’t think it will supplant the radio.”

Then Dave tells a story about his friend who had two interesting concepts:

what if the telephone followed the internet and people thought wow I can finally actually talk to someone!

But even better: what if when you farted it was colored.  It would make life way more interesting–Stand at the top of the CN tower and watch all the colors.  At night the CN Tower would be gorgeous.”

Martin says, “This is a very serious song.”
Dave: “It wouldn’t be very serious if you did it in Donald Duck voice.  It would have a whole new feel.”
Martin: “I can’t do Donald Duck voice.”
Dave: “Ala George Jones.  He talked in Donald Duck voice for a year.  My friend saw him play in the States and he did five songs in Donald Duck voice and that was it.  And they loved it.”
Martin: “Was he bitter or is he really funny?”
Dave: “I think he just liked the voice.”
Martin: “That’s a pretty high commitment.”

Even though the song is serious, when he sings he build a fence for all his friends, he throws in “all two of them.”

During the encore, Dave thanks everyone under 18 who came out.

Then comes “Harvest,” sung by Dave’s daughter or son (it sounds like he says Hi Sessi.  She/he is adorable (four/six years old depending).  She says “Harvest by Neil Young.”  How’s it feel to be onstage?  Good.  She does a really good job.  And then it’s over and she says over and over “I wanna do it again, Can I?”  he starts crying a bit, Dave says, “We’ll do one next year a longer one next year.  Your father needs to sing some now.”  “NO!”

They play a boppy version of “Home Again,” in which Martin mutters something about “living in the ass of an uncaring god.”  And they end with a romping version of “Legal Age Life at Variety Store”

[READ: February 10, 2017] Self-Control 

Did I pick up this book by Stig Sæterbakken because his name is Stig and his last name has a character I can’t pronounce?  Yes.  But also because I had heard about Stig from Karl Ove, my favorite Norwegian writer.  He had raved about Stig (and is blurbed on this book).

This book is evidently the second book in the “S” trilogy.  Although as I understand it they are only loosely connected–same characters but the stories aren’t directly sequential.

Andreas Feldt is a conflicted man–primarily internally conflicted.  I’m not sure if book one tells us about this, but as this book opens we learn that Andreas hasn’t seen his adult daughters in many years–talked to one of them, but not seen her.  He is meeting her for lunch.

The talk is awkward, certainly, and eventually he blurts out “Your mother and I are getting a divorce.”  Her reaction is fairly flat.  And later we learn that it is not even true–he just said it. (more…)

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[LISTENED TO: August 2017] Adventures with Waffles

I saw this book in the library and the title sounded interesting. The blurb on the back when enticing as well, so I grabbed it for our family road trip.

I had no idea that the book was a translation of a Norwegian story (Vafflehjarte) nor that it had already been translated into English as Waffle Hearts (a much more accurate, and frankly much more satisfying title).  I gather from a little research that Waffle Hearts is a British translation and Adventures with Waffles is an American one (although they both have the same translator, Guy Puzey).

The story is about Trille and Lena, two kids who live next door to each other in the village of Mathildawick Cove in Norway.  Their village is small and there are only 9 kids in their grade.  Lena is the only girl. The bully Kai-Tommy wishes she weren’t in their class.  But Trille feels that Lena is his best friend (he hopes it is reciprocated, but is unsure).  She is wild, she is spontaneous, she is dangerous.  And she is a lot of fun. (more…)

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