Literature

In the 1890s established Norwegian writers came under fire from the new generation. The manifesto of new ideas was an essay published in 1890 in the periodical Samtiden (“The Present Age”) by Knut Hamsun, “Fra det ubevidste Sjaeleliv” (“From the Unconscious Life of the Mind”), which demanded attention to what was individual and idiosyncratic rather than typical. Hamsun was impatient with contemporary emphasis on social problems, and his early novels—Sult (1890; Hunger), Mysterier (1892; Mysteries), and Pan (1894)—exemplified these ideas; his later novels, such as Markens grode (1917; Growth of the Soil), were less extreme but still showed a strong, sometimes savage irony. Hamsun won the Nobel Prize for Literature in 1920.

Lyric poetry at this time flourished with Sigbjorn Obstfelder, who had a close affinity with the Symbolist movement, and Nils Collett Vogt, who produced some of the best lyrics of the 1890s. In drama Gunnar Heiberg, who combined a sharply satirical wit with a lyric deftness, expressed the new spirit in Kong Midas (1890), Gerts have (1894; “Gert's Garden”), Balkonen (1894; “The Balcony”), and Kjaerlighetens tragedie (1904; “The Tragedy of Love”). Sharing Hamsun's preoccupation with the irrational side of human conduct was Hans E. Kinck, a writer of considerable power and penetration. In his verse drama Driftekaren (1908; “The Drover”) and long novel Sneskavlen brast (1918–19; “The Avalanche Broke”), Kinck showed himself to be a more reflective and analytical writer than Hamsun.

The real achievements of Norwegian literature in the first half of the 20th century were in the novel and lyric poetry. Drama was not conspicuous, except for the plays of Gunnar Heiberg and Nordahl Grieg. In the early decades of the century, regionalism was a strong element, particularly in the novel; and authors adopted language coloured by dialect, thus becoming identified with their region. Kristofer Uppdal, of the mid-north region of Trondelag, wrote a remarkable work—a 10-volume novel cycle, Dansen gjenom skuggeheimen (1911–24; “The Dance Through the Shadow World”). The novel also treated of conflicts arising from the spread of industrialism, which Norway underwent later than did other European countries. The most proletarian writer was Oskar Braaten, but superior as an artist was Johan Falkberget, who wrote with understanding and historical insight about the miners in Roros in Christianus Sextus (1927–35) and in Nattens brod (1940; “Bread of Night”). Sigrid Undset, who won the Nobel Prize for Literature in 1928, set her novels in many different ages, and their concern was to examine women's loyalties within the framework of their role in society. A long historical novel, Kristin Lavransdatter (1920–22), was a masterpiece of Norwegian literature. Her later novels, Gymnadenia (1929; The Wild Orchid) and Den braendende busk (1930; The Burning Bush), were greatly influenced by her conversion to Roman Catholicism. Olav Duun, again of the mid-north region, revealed his insight into life as endless conflict in a six-volume novel cycle about the development of a peasant family through four generations—Juvikfolke (1918–23; The People of Juvik).

Shortly before World War I, there were several good lyric poets: Herman Wildenvey, Olaf Bull, Tore Orjasaeter, and Olav Aukrust. Between World Wars I and II, there emerged many socially committed writers: the poet Arnulf Overland; a novelist and critic, Sigurd Hoel; a dramatist and critic, Helge Krog; and Nordahl Grieg. After World War II, Tarjei Vesaas wrote a remarkable series of novels, including the symbolic Huset i morkret (1945; “The House in the Darkness”) and Bruene (1966; “The Bridges”). Cora Sandel, who had made a major contribution with her “Alberte” trilogy (1926–39), continued to write, as did Aksel Sandemose, an experimental writer, and Johan Borgen, who won acclaim for his early short stories, the Lillelord trilogy (1955–57), and the autobiographical Barndommens rike (1965; “Childhood's Realm”). Borgen later became the leading novelist in Norway and maintained this standing until his death in 1979. Since then, Terje Stigen, Knut Faldbakken, and Bjorg Vik have become the dominant figures in prose fiction. Stigen's works are basically realistic narratives that variously treat historical and contemporary subjects. Faldbakken has demonstrated much fantasy and ingenuity, most recently having completed a series of novels that portray the collapse of technological society. An excellent short-story writer, Vik centres her attention on middle-class family life and often portrays it from a mildly feminist viewpoint.