The author of the year: Ruth Lillegraven

The author of the year: Ruth Lillegraven

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“It was a bit like coming home for me to write poems after writing a novel.”

In the new book, URD , you write ” I wove me / a cheeky / blanket of arguments / and complaints and requirements / smear and dust”. Do you know what you’re looking for and how are you in your own great textbook?

Net this poem depicts quite clearly about the day of marriage in a cohabitation. The writing of a poem is about a interplay between one idea / one thought and one kind of intuitive sense of the rhythm in the poem, etc. When it comes to the collection of holiness, I like inspiration in different places. Perhaps first and foremost, I invite myself, but also from nature, from other literature and art, from people I meet, etc. After a quarter, when the collection begins to take shape, it generates itself new poems, it becomes easier to see what is missing the holiness, a poem can be created in the extension of an anna etc.

The major lines of the URD are birth, life, death. The composition seems to be more tight than in the debut collection. Nevertheless, the new collection is well over a hundred pages. Between these two poems, you have to write a novel. Does it affect the writing process URD ?

Both of my poems have been over a hundred pages, yes. It is a good thing to do with dictation, which is long and long-standing, and with the holiness I wish they would form (although I have had clearer thoughts about this book than in the past, I agree that the composition is much more tight gongen). When it came to Urd, I realized after a quarter that the story of two women, Seselja and Cecilie, yes, even “whole story of life” to Seselja, had to be explained by a slightly different approach. It required a little space, but surprisingly little space was found. I’m telling her about her life from a vogue to a tomb of less than 40 pages, fascinating me to draw big portraits in few words. But eager to the question: yes, I will certainly threaten the writing. Between us , affecting the process of writing Urd in one way or another, it is difficult to seie exactly the truth. Perhaps I have gained an understanding of pastel techniques and dramaturgy, I do not know.

You have released six books to no. Page 2011 all five, of the three for children. What’s the drive of the author in you, and what’s the one that inspires you the most?

I love to write, to thickness, to make stories and personalities. It is also nice to be able to try before different genres. The biggest driving force, as well as feedback from Lesarane, is probably the big and intense joy as the writing process gives. To the greatest extent, I know it when writing poems. It was a bit like coming home for me to write poems after writing a novel.

You write books, you are a bookman but read by others; What books and writers have meant and mean soft to you?

I always end up answering the same two: Jon Fosse and Olav H. Hauge. And even though it’s a bit parodic, I’m from Hardanger as they are, but I imagine that it’s not difor that it’s probably the universal and tidlause of the books those who attract me so much. Something’s going on in the waves of women and one lesson, but the two are like that, anyway. I have had periods where I have read softly to Dome’s Day Solstad and Olav Duun. I love Alice Munroe’s prose and Jonathan Franzens novels. Of newer Norwegian novels: Net has a lot of fun with Jens M. Johansson’s Weddings and Funerals – it should be read by people. Trude Marstein’s novel of last year, home to me , I also thought that was amazing. Reading Geir Gulliksen and Nils-Øivind Haagensen’s poetry was very liberating for me at some point: one can also write a letter. And people who like to dictate me should try out Monica Isakstuen’s most recent poem collection, Always News, from a few years back. No, I would like to read a lot of poetry in the future, would like to be familiar with some of the female literary literary writers – and also read more Norwegian poetry. But as said, Fosse and Hauge, they will always follow me.

I read that your roots are important to you. You write your tree. Why do the next article on that tree?
I have begun a new poetry collection, where I may deduce some elements of Urd anymore: try the general public and universally with the historians of ordinary people, play with the biographical (not the biographical) and the story, instantly as I tempt create full-fledged poetry. If I’m ready to make something special and a little bit of annihilation, it’s great, but it’s not a goal in itself, I have to write “as it’s natural to me”. There will be little of me and my roots in this collection, I believe. Developing me as a writer is important to me, as it is for most of them.

 

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