Karl Ove Knausgaard’s first novel, Out of the World, was the first ever debut novel to win the Norwegian Critics’ Prize and his second, A Time for Everything, was widely acclaimed. The My Struggle cycle of novels has been heralded as a masterpiece wherever it has appeared.
“[Knausgaard] brings to life—even celebrates—the complex and
ambivalent give-and-take between men, between women and between men
and women. These relationships, full of misunderstandings,
concessions and reconciliations, feel real, without agenda . . .
The Wolves of Eternity, like some 19th-century Russian novel,
wrestles with the great contraries: the materialist view and the
religious, the world as cosmic accident versus embodiment of some
radiant intention. Is this world shot through with meaning or not?
Has there ever been a better time to ask?” —Sven Birkerts, The New
York Times Book Review
“Knausgaard is a master . . . guiding us inexorably and irresistibly towards the next installment.” —Financial Times
“Knausgaard is back, with a compulsively readable new novel . . . The good news, at least for hardcore Knausgaard fans, is that the second book in [his] series, The Wolves of Eternity, poses more questions than it answers . . . Knausgaard once again proves a thoughtful and wide reader. Dostoevsky, Tolstoy and Rilke are referenced alongside Marina Tsvetaeva, the poet who gives the book its title, and Nikolai Fyodorov, a pre-revolutionary Russian futurist who believed that all human effort should be directed toward resurrecting the dead . . . Knausgaard remains one of the great chroniclers of the moment-by-moment experience of life. Alevtina will be thinking deep thoughts about evolution one minute and contemplating meatballs the next. Knausgaard is acutely in tune with the simultaneity of life’s majesty and banality . . . Although the final shape of Knausgaard’s latest enterprise is not yet visible, there’s famously no smoke without wildfires. It’s likely something wicked this way comes.” —The Washington Post
“Inspired . . . Knausgaard’s book doesn’t shy away from big questions about the substance of his characters’ inner lives . . . [he] captures the spirit of a Russian novel.” —Publishers Weekly