childhood
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Description
Book Introduction
“Childhood is long and narrow like a coffin,
“No one can get out of there on their own.”
The life of a tragic female writer.
Books that address this topic, which has recently received significant attention, face fierce competition.
At this time, the more famous the writer's life is depicted, such as Sylvia Plath or Virginia Woolf, or the more the writer confronts the absurdity of society, the more likely it is to receive attention.
But Tove Dietleusen's memoir, "The Copenhagen Trilogy," which hardly fits that formula, did not quietly disappear, but rather broke the mold like a typhoon.
A memoir written over 50 years ago by an author who was virtually unknown outside Denmark for nearly half a century has received overwhelming acclaim from readers and critics.
The first book in the trilogy, Childhood, is reminiscent of Elena Ferrante in its beautiful depiction of the sorrows of childhood.
Dietleusen's depiction of his childhood, particularly his days of daydreaming, is long and beautiful, following the mind of a child who dreams of becoming a poet.
However, Dietleusen often uses the opposite method.
It is about compressing a situation into a lump and conveying it concisely.
The approach is sometimes chillingly cold, and at other times it is heavy and numb, as if it were utterly exhausting.
In this way, the sense of time in the work is repeated, lengthening and shortening similar to the author's inner experience, and in the process, a unique rhythm is created between events.
This is a part that clearly shows the individuality of Dietleusen, who began his career as a poet.
Childhood, with its nostalgic subject matter, beautiful sentences, and unique rhythm, has garnered the most reader support among the 'Copenhagen Trilogy'.
There were many people who wanted to remember this work as a vague drama.
Readers can decide for themselves after reading this work.
Will you remain in a hazy and refined sadness, or will you watch the darkness that grew there blossom into full bloom?
Whichever you choose, Childhood will leave you with a memorable little scar.
“No one can get out of there on their own.”
The life of a tragic female writer.
Books that address this topic, which has recently received significant attention, face fierce competition.
At this time, the more famous the writer's life is depicted, such as Sylvia Plath or Virginia Woolf, or the more the writer confronts the absurdity of society, the more likely it is to receive attention.
But Tove Dietleusen's memoir, "The Copenhagen Trilogy," which hardly fits that formula, did not quietly disappear, but rather broke the mold like a typhoon.
A memoir written over 50 years ago by an author who was virtually unknown outside Denmark for nearly half a century has received overwhelming acclaim from readers and critics.
The first book in the trilogy, Childhood, is reminiscent of Elena Ferrante in its beautiful depiction of the sorrows of childhood.
Dietleusen's depiction of his childhood, particularly his days of daydreaming, is long and beautiful, following the mind of a child who dreams of becoming a poet.
However, Dietleusen often uses the opposite method.
It is about compressing a situation into a lump and conveying it concisely.
The approach is sometimes chillingly cold, and at other times it is heavy and numb, as if it were utterly exhausting.
In this way, the sense of time in the work is repeated, lengthening and shortening similar to the author's inner experience, and in the process, a unique rhythm is created between events.
This is a part that clearly shows the individuality of Dietleusen, who began his career as a poet.
Childhood, with its nostalgic subject matter, beautiful sentences, and unique rhythm, has garnered the most reader support among the 'Copenhagen Trilogy'.
There were many people who wanted to remember this work as a vague drama.
Readers can decide for themselves after reading this work.
Will you remain in a hazy and refined sadness, or will you watch the darkness that grew there blossom into full bloom?
Whichever you choose, Childhood will leave you with a memorable little scar.
- You can preview some of the book's contents.
Preview
index
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
2
3
4
5
6
7
8
9
10
11
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Detailed image
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Into the book
I took the cups out to the kitchen, and inside me, long, mysterious words began to slowly cross my mind like a shield.
The words, almost like a song or poem, were comforting, rhythmic, and deeply thoughtful, yet never painful or sad, because I already knew the rest of the day would be painful and sad.
--- p.12
Childhood is as narrow and long as a coffin, and no one can get out of it on their own.
It's always there, and everyone can see it clearly.
--- p.46
I read this passage in a magazine:
'I sit and look at the two fists that our Lord has made so wonderfully powerful.' This is a line from a poem about the unemployed, and it reminds me of my father.
--- p.58
My mother isn't the only one who blames Stauning for high unemployment.
But Stauning says that's not the case, that the unemployment problem is purely due to the global recession, and I find "recession" to be a fun and attractive word.
I imagine.
A scene where everyone has their awnings down and their lights are turned off while rain pours down under a starless, inconsolable gray sky.
A world steeped in deep, deep sorrow.
--- p.106
There is something that bothers me a lot.
Now I feel like I can't feel any real emotions, so I always have to pretend that I have emotions by mimicking other people's reactions.
It seems I am only moved by things that come to me indirectly.
We may shed tears when we see a picture in the newspaper of an unfortunate family being kicked out of their home, but we are not moved when we see the same commonplace sight in real life.
I am, as always, moved by poetry and lyrical prose, but I am thoroughly dispassionate about the things described in them.
The idea that reality matters rarely occurs to me.
--- p.160
I move the geranium pots from the windowsill and look up at the sky where a baby star is shining above the crescent moon cradle.
The crescent moon cradle rocks softly and quietly among the drifting clouds.
I recite to myself several passages from Johannes Wilhelm Jensen's "The Glacier," a book I have read so often that I have memorized entire passages.
'And now like the evening star, and then like the morning star, the girl who was murdered in her mother's breast shines forth.
'To be completely absorbed in oneself, like the soul of a child wandering alone on an endless road, playing well on its own.'
The words, almost like a song or poem, were comforting, rhythmic, and deeply thoughtful, yet never painful or sad, because I already knew the rest of the day would be painful and sad.
--- p.12
Childhood is as narrow and long as a coffin, and no one can get out of it on their own.
It's always there, and everyone can see it clearly.
--- p.46
I read this passage in a magazine:
'I sit and look at the two fists that our Lord has made so wonderfully powerful.' This is a line from a poem about the unemployed, and it reminds me of my father.
--- p.58
My mother isn't the only one who blames Stauning for high unemployment.
But Stauning says that's not the case, that the unemployment problem is purely due to the global recession, and I find "recession" to be a fun and attractive word.
I imagine.
A scene where everyone has their awnings down and their lights are turned off while rain pours down under a starless, inconsolable gray sky.
A world steeped in deep, deep sorrow.
--- p.106
There is something that bothers me a lot.
Now I feel like I can't feel any real emotions, so I always have to pretend that I have emotions by mimicking other people's reactions.
It seems I am only moved by things that come to me indirectly.
We may shed tears when we see a picture in the newspaper of an unfortunate family being kicked out of their home, but we are not moved when we see the same commonplace sight in real life.
I am, as always, moved by poetry and lyrical prose, but I am thoroughly dispassionate about the things described in them.
The idea that reality matters rarely occurs to me.
--- p.160
I move the geranium pots from the windowsill and look up at the sky where a baby star is shining above the crescent moon cradle.
The crescent moon cradle rocks softly and quietly among the drifting clouds.
I recite to myself several passages from Johannes Wilhelm Jensen's "The Glacier," a book I have read so often that I have memorized entire passages.
'And now like the evening star, and then like the morning star, the girl who was murdered in her mother's breast shines forth.
'To be completely absorbed in oneself, like the soul of a child wandering alone on an endless road, playing well on its own.'
--- pp.167~168
Publisher's Review
More than 50 years have passed since its publication
A memoir selected as one of the New York Times' 10 best books of the year
The life of a tragic female writer.
Books that address this topic, which has recently received significant attention, face fierce competition.
At this time, the more famous the writer's life is depicted, such as Sylvia Plath or Virginia Woolf, or the more the writer confronts the absurdity of society, the more likely it is to receive attention.
But Tove Dietleusen's memoir, "The Copenhagen Trilogy," which hardly fits that formula, did not disappear quietly, but rather broke the mold like a typhoon.
A memoir written over 50 years ago by an author who was virtually unknown outside Denmark for nearly half a century has received overwhelming acclaim from readers and critics.
By deviating from justice
Escape from definition
This trilogy, which recounts the author's childhood through her early thirties, from the 1930s to the 1950s, begins with a setting and beautiful prose reminiscent of Elena Ferrante.
But the ending is far from nostalgia.
The secret to elevating a memoir, often filled with sorrow and regret, into a special work is cool-headedness.
He observed his own faults more dispassionately than any other man, like a doctor examining a wound, and he added no judgment to his observations.
There is no rationalization, no self-reproach, no resentment.
Even Dietleusen never once asks himself what kind of being he is.
There is no emotional conclusion through retrospection.
This characteristic destroys the psychological tradition of the memoir genre, in which the author's confession leads to the reader's empathy or compassion.
It was a truly avant-garde result.
The American feminist literary world, which first encountered Dietleusen through Childhood and Youth in 1985, praised these characteristics of the two works.
This was because Dietleusen threw away even the political frame of ‘a woman who recognizes injustice and (must) pursue justice’ and presented a woman-human who is willing to expose herself to error and anxiety.
Deviating from the justice and ethics bestowed upon oneself in accordance with one's own desires is both an injustice that invites destruction and a higher level of liberation.
Tillie Olson, one of the leading figures in the American feminist movement at the time, recognized the concerns expressed in Dietleusen's memoir and considered him one of the most important writers of his time.
And this problem awareness is still a new challenge for today's readers, even after more than 30 years.
This coolness and detachment also bring a special kind of warmth.
Dietleusen, who lacks self-pity, does not project his misfortunes onto others and therefore does not make enemies.
He doesn't even hate the German soldiers who occupied his homeland.
It was just that time and fate had led them there, and it was one of the destinies given to all mankind.
Dietleusen, who realized from a young age that all humans must live with the burden of unfair duties and desires imposed on them, quietly looks upon the mistakes and errors of others as if they were his own.
It is not easy to divide people into my side and the other side, but to understand that all people are fundamentally the same species with the same shortcomings.
This paradoxical warmth, contained within the most dispassionate observer in memoir history, will leave a lasting impression that will be difficult to forget.
Two abilities a poet possesses when writing prose
Stretch and compress beautifully
The first book in the trilogy, Childhood, is reminiscent of Elena Ferrante in its beautiful depiction of the sorrows of childhood, as mentioned earlier.
Dietleusen's depiction of his childhood, particularly his days of daydreaming, is long and beautiful, following the mind of a child who dreams of becoming a poet.
However, Dietleusen often uses the opposite method.
It is about compressing a situation into a lump and conveying it concisely.
The approach is sometimes chillingly cold, and at other times it is heavy and numb, as if it were utterly exhausting.
In this way, the sense of time in the work is repeated, lengthening and shortening similar to the author's inner experience, and in the process, a unique rhythm is created between events.
This is a part that clearly shows the individuality of Dietleusen, who began his career as a poet.
Childhood, with its nostalgic subject matter, beautiful sentences, and unique rhythm, has garnered the most reader support among the 'Copenhagen Trilogy'.
There were many people who wanted to remember this work as a vague drama.
Readers can decide for themselves after reading this work.
Will you remain in a hazy and refined sadness, or will you watch the darkness that grew there blossom into full bloom?
Whichever you choose, Childhood will leave you with a memorable little scar.
A memoir selected as one of the New York Times' 10 best books of the year
The life of a tragic female writer.
Books that address this topic, which has recently received significant attention, face fierce competition.
At this time, the more famous the writer's life is depicted, such as Sylvia Plath or Virginia Woolf, or the more the writer confronts the absurdity of society, the more likely it is to receive attention.
But Tove Dietleusen's memoir, "The Copenhagen Trilogy," which hardly fits that formula, did not disappear quietly, but rather broke the mold like a typhoon.
A memoir written over 50 years ago by an author who was virtually unknown outside Denmark for nearly half a century has received overwhelming acclaim from readers and critics.
By deviating from justice
Escape from definition
This trilogy, which recounts the author's childhood through her early thirties, from the 1930s to the 1950s, begins with a setting and beautiful prose reminiscent of Elena Ferrante.
But the ending is far from nostalgia.
The secret to elevating a memoir, often filled with sorrow and regret, into a special work is cool-headedness.
He observed his own faults more dispassionately than any other man, like a doctor examining a wound, and he added no judgment to his observations.
There is no rationalization, no self-reproach, no resentment.
Even Dietleusen never once asks himself what kind of being he is.
There is no emotional conclusion through retrospection.
This characteristic destroys the psychological tradition of the memoir genre, in which the author's confession leads to the reader's empathy or compassion.
It was a truly avant-garde result.
The American feminist literary world, which first encountered Dietleusen through Childhood and Youth in 1985, praised these characteristics of the two works.
This was because Dietleusen threw away even the political frame of ‘a woman who recognizes injustice and (must) pursue justice’ and presented a woman-human who is willing to expose herself to error and anxiety.
Deviating from the justice and ethics bestowed upon oneself in accordance with one's own desires is both an injustice that invites destruction and a higher level of liberation.
Tillie Olson, one of the leading figures in the American feminist movement at the time, recognized the concerns expressed in Dietleusen's memoir and considered him one of the most important writers of his time.
And this problem awareness is still a new challenge for today's readers, even after more than 30 years.
This coolness and detachment also bring a special kind of warmth.
Dietleusen, who lacks self-pity, does not project his misfortunes onto others and therefore does not make enemies.
He doesn't even hate the German soldiers who occupied his homeland.
It was just that time and fate had led them there, and it was one of the destinies given to all mankind.
Dietleusen, who realized from a young age that all humans must live with the burden of unfair duties and desires imposed on them, quietly looks upon the mistakes and errors of others as if they were his own.
It is not easy to divide people into my side and the other side, but to understand that all people are fundamentally the same species with the same shortcomings.
This paradoxical warmth, contained within the most dispassionate observer in memoir history, will leave a lasting impression that will be difficult to forget.
Two abilities a poet possesses when writing prose
Stretch and compress beautifully
The first book in the trilogy, Childhood, is reminiscent of Elena Ferrante in its beautiful depiction of the sorrows of childhood, as mentioned earlier.
Dietleusen's depiction of his childhood, particularly his days of daydreaming, is long and beautiful, following the mind of a child who dreams of becoming a poet.
However, Dietleusen often uses the opposite method.
It is about compressing a situation into a lump and conveying it concisely.
The approach is sometimes chillingly cold, and at other times it is heavy and numb, as if it were utterly exhausting.
In this way, the sense of time in the work is repeated, lengthening and shortening similar to the author's inner experience, and in the process, a unique rhythm is created between events.
This is a part that clearly shows the individuality of Dietleusen, who began his career as a poet.
Childhood, with its nostalgic subject matter, beautiful sentences, and unique rhythm, has garnered the most reader support among the 'Copenhagen Trilogy'.
There were many people who wanted to remember this work as a vague drama.
Readers can decide for themselves after reading this work.
Will you remain in a hazy and refined sadness, or will you watch the darkness that grew there blossom into full bloom?
Whichever you choose, Childhood will leave you with a memorable little scar.
GOODS SPECIFICS
- Publication date: August 20, 2022
- Page count, weight, size: 168 pages | 172g | 115*190*20mm
- ISBN13: 9788932461311
- ISBN10: 8932461317
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