In contemporary Norwegian fiction Tomas Espedal's work stands out as uniquely personal; it can be difficult to separate the fiction from Espedal's own experiences. In that vein, his novel "Against Art" is not just the story of a boy growing up to be a writer, but it is also the story of writing. Specifically, it is about the profession of writing--the routines, responsibility, and obstacles. Yet, "Against Art "is also about being a father, a son, and a grandson; about a family and a family's tales, and about how preceding generations mark their successors. It is at once about choices and changes, about motion and rest, about moving to a new place, and about living." ""Praise for the Norwegian Edition""One of the most beautiful, most important books I've read for years."--"Klassekampen" "Espedal has written an amazingly rich novel, which will assuredly stand out as one of the year's best and will also further fortify the quality of Norwegian literature abroad."--" Adresseavisen" ""Against Art" attacks literature while at the same time being intensely literary. Our greatest sorrows and torments, the individual experiences often so anemic in art, find a voice of their own."--"Morgenbladet" ""Against Art" moves me with its maternal history and proves yet again that Tomas Espedal writes great novels."--"Dag og Tid"

A novel of intersecting historical threads. Love narrates celebrated Norwegian writer Tomas Espedal's search for death. The decision blossoms within I-the I-person-"like some interior bloom, black and beautiful" on a warm spring day in May, and it is this resolution that fills his self-imposed final year with meaning: Death. It can be so beautiful. One must create this beauty for oneself. One must submit to this naturalness, one must choose it, like pulling the duvet over oneself in bed or jumping off a bridge. But almost immediately life deals I a wildcard: a new love affair brings some of the best days he's ever known and threatens his pact with death. Will he be able to leave Aka and the child she's carrying? He has put an endpoint on his life to intensify experience but is he sure that disappearing from their lives, becoming an absent father, is the best thing for all of them? Set against Espedal's constant reference, the ebb and flow of the seasons, something close to ecstasy propels this most introspective of narratives towards a universal truth.

A lyrical travelogue charting Tomas Espedal's journeys to and ruminations around the world, from his native Norway to Istanbul and beyond. "Why travel?" asks Tomas Espedal in Tramp, "Why not just stay at home, in your room, in your house, in the place you like better than any other, your own place. The familiar house, the requisite rooms in which we have gathered the things we need, a good bed, a desk, a whole pile of books. The windows giving on to the sea and the garden with its apple trees and holly hedge, a beautiful garden, growing wild." The first step in any trip or journey is always a footstep-the brave or curious act of putting one foot in front of the other and stepping out of the house onto the sidewalk below. Here, Espedal contemplates what this ambulatory mode of travel has meant for great artists and thinkers, including Rousseau, Kant, Hazlitt, Thoreau, Rimbaud, Whitman, Giacometti, and Robert Louis Stevenson. In the process, he confronts his own inability to write from a fixed abode and his refusal to banish the temptation to become permanently itinerant. Lyrical and rebellious, immediate and sensuous, Tramp conveys Espedal's own need to explore on foot-in places as diverse as Wales and Turkey-and offers us the excitement and adventure of being a companion on his fascinating and intriguing travels.

In contemporary Norwegian fiction, Tomas Espedal's work stands out as uniquely bound up with the author's personal experiences. His first book, Tramp, introduced us to the wanderer Tomas; Against Art told us how a boy approaches art and eventually becomes a writer; Against Nature examined love's labor-the job of writing; and in Bergerners, he is torn between his love for his home town and what lies beyond. Now, in The Year, we encounter the author's struggle to reconcile his inner life with the external world, and the myriad forms of love, hate, loss, and death-both personal and literary-with the immutable pattern of time and the seasons. It is the journal of a year, a diary like no other. And suffusing it all are questions Petrarch asked: How do you live when the one you love is gone? And when your life force shifts from spring to autumn, how do you find the good death? Written as a long poem, The Year is Espedal's riveting stream of consciousness-profound, edgy, sometimes manic, but always intensely intimate.

Bergeners is a love letter to a writer's hometown. The book opens in New York City at the swanky Standard Hotel and closes in Berlin at Askanischer Hof, a hotel that has seen better days. But between these two global metropolises we find Bergen, Norway its streets and buildings and the people who walk those streets and live in those buildings. Using James Joyce's Dubliners as a discrete guide, celebrated Norwegian writer Tomas Espedal wanders the streets of his hometown. On the journey, he takes notes, reflects, writes a diary, and draws portraits of the city and its inhabitants. Espedal writes tales and short stories, meets fellow writers, and listens to their anecdotes. In the way that anyone from a small town can relate to, he is drawn away from Bergen but at the same time he can't seem to stay away. Espedal's Bergeners is a book not just about Bergen, but about life in a way no one else could have captured.

The companion volume to Espedal's Against Art, written in his characteristic poetic prose. In contemporary Norwegian fiction Tomas Espedal's work stands out as uniquely personal; it can be difficult to separate the fiction from Espedal's own experiences. Against Nature, a companion volume to Espedal's earlier Against Art, is an examination of factory work, love's labor, and the work of writing. Espedal dwells on the notion that working is required in order to live in compliance with society, but is this natural? And how can it be natural when he is drawn toward impossible things-impossible love, books, myths, and taboos? He is drawn into the stories of Abelard and Heloise, of young Marguerite Duras and her Chinese lover, and soon realizes that he, too, is turning into a person who must choose to live against nature. "A masterpiece of literary understatement. Everybody who has recently been thirsting for a new, unexhausted realism, like water in the desert, will love this book."-Die Zeit, on the Norwegian edition

In contemporary Norwegian fiction Tomas Espedal's work stands out as uniquely personal; it can be difficult to separate the fiction from Espedal's own experiences. In that vein, his novel Against Art is not just the story of a boy growing up to be a writer, but it is also the story of writing. Specifically, it is about the profession of writing--the routines, responsibility, and obstacles. Yet, Against Art is also about being a father, a son, and a grandson; about a family and a family's tales, and about how preceding generations mark their successors. It is at once about choices and changes, about motion and rest, about moving to a new place, and about living. Praise for the Norwegian Edition"One of the most beautiful, most important books I've read for years."--Klassekampen "Espedal has written an amazingly rich novel, which will assuredly stand out as one of the year's best and will also further fortify the quality of Norwegian literature abroad."-- Adresseavisen "Against Art attacks literature while at the same time being intensely literary. Our greatest sorrows and torments, the individual experiences often so anemic in art, find a voice of their own."--Morgenbladet "Against Art moves me with its maternal history and proves yet again that Tomas Espedal writes great novels."--Dag og Tid