I Curse The River Of Time

Paperback | August 30, 2011

byPer Petterson

not yet rated|write a review

“How impossible it was to grasp that in the end something as fine as this could be ground into dust” (p. 213).
 
I Curse the River of Time, the new novel from the winner of the International IMPAC Dublin Literary Award for Out Stealing Horses, is a mesmerizingly beautiful book about love, regret, family secrets and failed revolution.
 
The novel takes us through thirty-seven-year-old Arvid’s life and its descent towards a moment of terrible crisis. It traces his parents’ hesitant support when he gives up his place at college to work in a paper mill, like his father; his experiences as a fervent young Maoist in Norway in the 1960s; the death of his younger brother; the passionate, enveloping romance that led to marriage and children and, for a time, happiness; the failure of that relationship, and its transformation into a source of harrowing pain.
 
By 1989, everything that gave Arvid’s life meaning has melted into air. The collapse of the Berlin Wall mirrors the collapse of his marriage and his self-punishing alcoholism. When his mother is diagnosed with stomach cancer, Arvid sets off to their summer house in Denmark to be with her, meeting men and women from their past along the way. His despairing journey is also a quest for some kind of order in his life, perhaps even a new foundation. When Arvid finds his mother, and accompanies her in her illness, the novel turns to exploring the secrets that explain the distance between them – a distance that perhaps can never be crossed.
 
I Curse the River of Time describes the ways that the present and the past are always intertwined, and shows how the personal and political are one and the same. Written in a subdued and elegiac style, with flashes of devastating poetic beauty, it is an utterly absorbing experience, a book that displays wisdom of the kind that only profound loss can bring. Above all, it is a reminder of the power of great art to console us for life’s burdens, an example of the way our dreams may brighten our bleakest moments.




From the Hardcover edition.

Pricing and Purchase Info

$19.94 online
$19.95 list price
In stock online
Ships free on orders over $25

From the Publisher

“How impossible it was to grasp that in the end something as fine as this could be ground into dust” (p. 213).  I Curse the River of Time, the new novel from the winner of the International IMPAC Dublin Literary Award for Out Stealing Horses, is a mesmerizingly beautiful book about love, regret, family secrets and failed revolution.  T...

Per Petterson was born in Oslo in 1952 and worked for several years as an unskilled labourer, a bookseller, a writer and a translator until he made his literary debut in 1987 with the short-story collection Ashes in My Mouth, Sand in My Shoes, which was widely acclaimed by critics. His novel Out Stealing Horses has been translated into...

other books by Per Petterson

Out Stealing Horses
Out Stealing Horses

Paperback|Jul 13 2007

$18.99

I Refuse
I Refuse

Paperback|Dec 1 2014

$24.99

Kielzog
Kielzog

Kobo ebook|Oct 11 2013

$6.55

see all books by Per Petterson
Format:PaperbackDimensions:240 pages, 8 × 5.16 × 0.62 inPublished:August 30, 2011Publisher:Knopf CanadaLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0307399397

ISBN - 13:9780307399397

Look for similar items by category:

Reviews

Extra Content

Read from the Book

1All this happened quite a few years ago. My mother had been unwell for some time. To put a stop to my brothers’ nagging and my father’s especially, she finally went to see the doctor she always saw, the doctor my family had used since the dawn of time. He must have been ancient at that point for I cannot recall ever not visiting him, nor can I recall him ever being young. I used him myself even though I now lived a good distance away. After a brief check-up, this old family doctor swiftly referred her to Aker Hospital for further examination. Having been for several, no doubt painful, tests in rooms painted white, painted apple green, at the big hospital near the Sinsen junction on the side of Oslo I always like to think of as our side, the east side that is, she was told to go home and wait two weeks for the results. When they finally arrived, three weeks later rather than two, it turned out that she had stomach cancer. Her first reaction was as follows: Good Lord, here I’ve been lying awake night after night, year after year, especially when the children were small, terrified of dying from lung cancer, and then I get cancer of the stomach. What a waste of time! My mother was like that. And she was a smoker, just as I have been my entire adult life. I know well those night-time moments when you lie in bed staring into the dark, with dry, aching eyes feeling life like ashes in your mouth, even though I have probably worried more about my own life than leaving my children fatherless. For a while she just sat at the kitchen table with the envelope in her hand, staring out of the window at the same lawn, the same white painted fence, the same clothes lines and the same row of identical grey houses she had been looking at for so many years, and she realised she did not like it here at all. She did not like all the rock in this country, did not like the spruce forests or the high plains, did not like the mountains. She could not see the mountains, but she knew they were everywhere out there leaving their mark, every single day, on the people who lived in Norway. She stood up, went out into the hallway, made a call, replaced the receiver after a brief conversation and returned to the kitchen table to wait for my father. My father was retired and had been for some years, but she was fourteen years younger than him and still working; though today was her day off. My father was out, he always had something he needed to see to, errands to run my mother was rarely told about, the results of which she never saw, but whatever conflicts there had been between them were settled long ago. There was a truce now. As long as he did not try to run her life, he was left in peace to run his own. She had even started to defend and protect him. If I uttered a word of criticism or took her side in a misguided attempt to support the women’s liberation, I was told to mind my own business. It is easy for you to criticise, she would say, who have had it all handed to you on a silver plate. You squirt. As if my own life were plain sailing. I was heading full speed for a divorce. It was my first; I thought it was the end of the world. There were days I could not move from the kitchen to the bathroom without falling to my knees at least once before I could pull myself together and walk on.  When finally my father returned from whatever project he thought was the most urgent, something at Vålerenga no doubt, which was the place he was born, where I too had been born seven years after the end of the war, a place he often returned to, to meet up with men his own age and background, to see the old boys, as they called themselves, my mother was still sitting at the kitchen table. She was smoking a cigarette, a Salem, I guess, or perhaps a Cooly. If you were scared of lung cancer you ended up smoking menthols. My father stood in the doorway with a well-worn bag in his hand, not unlike the one I used in years six and seven at school, we all carried a bag like that then, and for all I know it was the same one. In that case the bag was more than twenty-five years old. ‘I’m leaving today,’ my mother said. ‘Where to?’ my father said. ‘Home.’ ‘Home,’ he said. ‘Today? Shouldn’t we talk about it first? Don’t I get a chance to think about it?’ ‘There’s nothing to discuss,’ my mother said. ‘I’ve booked my ticket. I’ve just had a letter from Aker Hospital. I’ve got cancer.’ ‘You have cancer?’ ‘Yes. I’ve got stomach cancer. So now I have to go home for a bit.’ She still referred to Denmark as home when she spoke about the town she came from, in the far north of that small country, even though she had lived in Norway, in Oslo, for forty years exactly. ‘But, do you want to go alone?’ he said. ‘Yes,’ my mother said. ‘That’s what I want.’ And when she said it like this she knew my father would be hurt and upset, and that gave her no pleasure at all, on the contrary, he deserves better, she thought, after so much life, but she did not feel she had a choice. She had to go on her own. ‘I probably won’t stay very long,’ she said. ‘Just a few days, and then I’ll be back. I have to go into hospital. I may need an operation. At least I hope so. In any case I’m catching the evening ferry.’ She looked at her watch. ‘And that’s in three hours. I’d best go upstairs and pack my things.’ They lived in a terraced house with a kitchen and a living room on the ground floor and three small bedrooms and a tiny bathroom on the first. I grew up in that house. I knew every crinkle in the wallpaper, every crack in the floorboards, every terrifying corner in the cellar. It was cheap housing. If you kicked the wall hard enough, your foot would crash into your neighbour’s living room. She stubbed out the cigarette in the ashtray and stood up. My father had not moved, he was still standing in the doorway with the bag in one hand, the other insecurely raised in her direction. He had never been a champ when it came to physical contact, not outside the boxing ring, and frankly, it was not her strong point either, but now she pushed my father aside, carefully, almost lovingly so that she could get past. And he let her do it, but with so much reluctance, both firm and slow, it was enough for her to understand he wanted to give her something tangible, a sign, without putting it into words. But it’s too late for that, she told herself, far too late, she said, but he could not hear her. Yet she allowed my father to hold her up long enough for him to understand there was enough between them after forty years together and four sons, even though one of them had already died, for them to live in the same house still, in the same flat, and wait for each other and not just run off when something important had happened.  The ferry she was travelling on, which we all travelled on when we headed south, was called the Holger Danske. Later she was docked and turned into a shelter for refugees, in Stockholm first, I’ve found out, and then in Malmö, and was now stripped down to scrap metal on some beach in Asia, in India or Bangladesh, but in the days I am talking about here, she still sailed between Oslo and this town in the far north of Jutland, the very town my mother grew up in. She liked that boat and thought its poor reputation was unfair; Not a Chanske, as she was popularly known, but it was a much better ship, she thought, than the floating casinos which sail the route today, where the opportunities for drinking yourself senseless have become senselessly many and even though the Holger Danske might have rolled a bit from side to side when the weather was bad, that did not mean she was about to go down the great drain. I have thrown up on board the Holger Danske myself and never gave it a thought. My mother was fond of the crew. With time she had made friends with many of them, for it was a small ship, and they knew who she was and greeted her as one of their own when she came up the gangway. Perhaps on this occasion they noticed a new gravity in her manner, in her walk, in the way she looked around her, as she often would with a smile on her lips that was not a smile as there was nothing to smile about that anyone could see, but it was how she looked when her mind was somewhere else and definitely not in a place that those around her could have guessed. I thought she looked especially pretty then. Her skin was smooth and her eyes took on a strange, clear shine. As a small boy I often sat watching her when she was not aware I was in the room or perhaps had forgotten I was there, and that could make me feel lonely and abandoned. But it was exciting, too, for she looked like a woman in a film on TV, like Greta Garbo in Queen Christina lost in thought at the ship’s bow close to the end of the film on her way to some other more spiritual place, and yet somehow she had managed to enter our kitchen and stop there for a while to sit on one of the red kitchen chairs with a smoking cigarette between her fingers and a so far untouched and unsolved crossword open in front of her on the table. Or she might look like Ingrid Bergman in Casablanca as she had the same hairstyle and the same curve along her cheek, but my mother would never have said: You have to think for both of us to Humphrey Bogart. Not to anyone. If the crew of the Holger Danske had picked up on this or any other change in her way of greeting them when she crossed the gangway with her small brown suitcase of imitation leather, which is mine now and I still use wherever I go, there was no remark to that effect and I think she was grateful for that.  When she had found her cabin, she placed the suitcase on a chair, took a glass from the shelf above the sink, cleaned it carefully before she opened the suitcase and pulled out a half-bottle from underneath her clothes. It was Upper Ten, her favourite brand of whisky when she drank the hard liquor, which she did, I think, more often than we were aware of. Not that it was any of our business, but my brothers considered Upper Ten to be cheap shit, at least when you had access to duty free goods. They preferred malt whisky, Glenfiddich, or Chivas Regal which was sold on the ferry to Denmark, and they would hold forth at length about the distinctive caress of the single malt on your palate and other such nonsense, and we mocked my mother for her poor taste. Then she would give us an icy stare and say: ‘And you are my sons? Snobs?’ And she would say: ‘If you want to sin, it better sting.’ And the truth is that I agreed with her, and to be honest I, too, bought the Norwegian label Upper Ten the few times I mustered the courage to go to the wine monopoly, and Upper Ten was neither single malt nor mild on your palate; on the contrary, it made your throat burn and the tears well up in your eyes unless you were prepared for the first mouthful. This is not to say that it was bad whisky, only that it was cheap. My mother twisted the top off the bottle with a sudden movement and she filled the glass roughly three-quarters full, drained it in two gulps, and it burned her mouth and her throat so badly she had to cough, and then she cried a little too as she was already in pain. Then she put the bottle back under the clothes in her suitcase as if it were contraband she was carrying and the customs officers were at the door with their crowbars and handcuffs, and she washed her tears away in front of the mirror above the tap and dried her face and tugged at her clothes the way plump women nearly always do, before she went upstairs to the cafeteria which was a modest cafeteria in every sense of the word, and the menu was modest and manageable the way she liked it, and that made the Holger Danske the perfect boat. She brought with her the book she was reading, and she was always reading, always had a book tucked into her bag, and if Günter Grass had published a novel recently, it was very likely the one she was carrying, in German. When I stopped reading books in German shortly after I left school for the simple reason I no longer had to, she dressed me down and told me I was intellectually lazy, and I defended myself and said I was not; it was a matter of principle, I said, because I hated the Nazis. That enraged her. She pointed a trembling index finger at my nose and said, what do you know about Germany and German history and what happened there? You squirt. She would often call me that. You squirt, she said, and it is true that I was not tall of stature, but then neither was she. But I was fit, I always have been, and the nickname ‘squirt’ implied both meanings: that I was fairly short of stature, like she was, and at the same time fit, like my father was, and that perhaps she liked me that way. At least I hoped she did. So when she dressed me down and called me a squirt, I was never in serious trouble. And I did not know that much about Germany at the time of this conversation. She had a point.  I cannot imagine she craved company in the cafeteria on board the Holger Danske and approached a table to engage someone in conversation, to find out what their thoughts were and what their dreams, for they were of her kind and had the same background, or the opposite, because they were different too, and it is in the way we differ that you find what is interesting, what is possible, she believed, and she searched for those differences and got a great deal out of them. On this occasion she sat down, alone, at a table for two and ate in silence and concentrated on her book over coffee after her meal, and when her cup was empty she tucked the book under her arm and stood up. The very moment her body left the chair, she felt so exhausted she thought she would collapse there and then and never stand up again. She clung to the edge of the table, the world drifted like the ferry did, and she had no idea how she would manage to get through the cafeteria, past the reception and down the stairs. And yet she did. She took a deep breath and walked with quiet determination between the tables, down the stairs to the cabins, and she had the expression on her face which I have already described, and only a few times did she lean against the wall for support before she found her cabin door, pulled the key from her coat pocket, and locked the door behind her. The minute she sat down on her bed, she poured a large measure of Upper Ten into her glass and downed it in three quick gulps, and she cried when it hurt.From the Hardcover edition.

Bookclub Guide

1. How would you describe Arvid’s personality? How would you describe the style in which the novel is written? Do you find the style reflects the character, or not?2. What is the source of the title, and why does it matter?3. Why does Arvid never feel fully a part of his own family?4. What roles do politics play in I Curse the River of Time? How do political and personal projects affect each other in the book?5. Why is Arvid unable to speak at his mother’s fiftieth birthday party? What does the scene add to the book, or to your sense of his character?6. Discuss the differences between the various journeys within the novel.7. Arvid is a contemplative person, but what kind of things does he do in the novel, and what do they tell us about him?8. How does alcohol matter in the book? Why?9. What role do the characters apart from Arvid play in the book? How do they change him?10. What kind of person is Arvid’s mother, and how would you characterize their relationship? How does it change over the course of the book?11. How do the characters in I Curse the River of Time deal with problems?12. What is your favourite part of the novel, and why?13. What is the significance of other novels in the book? Why are Arvid’s mother’s reading habits described at such length? How do they affect Arvid’s?14. In what ways is this a uniquely Norwegian book, if at all?15. What role does Hansen play in the novel?16. There are many little stories, often memories, within the novel: Arvid taking a dog to be put down; the scene at the holiday cabin with the young woman who would become his wife; Arvid chopping down the pine tree. Which strikes you as the most significant or affecting, and why?17. How does the structure of the book contribute to its exploration of Arvid’s past and present experience?18. What is the importance of Arvid’s father in I Curse the River of Time?19. What does I Curse the River of Time leave you thinking about families?20. Which other author or authors does Per Petterson’s work make you think of? Why?21. Have you recommended I Curse the River of Time to your friends? Why, or why not?

Editorial Reviews

WINNER 2009 – Nordic Council’s Prize for LiteratureWINNER 2009 – Norwegian Critics’ PrizeWINNER 2009 – Brage PrizeA Financial Times Best Book A New York Times Notable Book “Petterson’s style makes the reader . . . reflect about how parent-child relationships both change and yet can remain static as the years pass and people deal with their inevitable disappointments. . . . This novel will appeal to those who appreciate spare, contemplative writing.” — Winnipeg Free Press “The Scandinavian writer masterfully captures a family’s sorrow and disconnect, turning the chasm between a grown son and his mother into a vivid portrait of longing for something just out of reach. . . . Per Petterson is a master at writing the spaces between people.”— Los Angeles Times “Petterson’s atmospheric prose — melancholy, tempered, and terse — is the real force keeping the various plots in orbit.” — The New Yorker  “[Petterson’s] characters open their hearts to the reader, making us witnesses to their most private selves. . . . Petterson has the ability to be simultaneously restrained and terribly tender. . . . There is a quality that I can only call charm, or something like charm, to Petterson’s essentially dark and lonely sensibility.”— The New York Times Book Review“Per Petterson is a profoundly gifted novelist.” — Richard Ford  “What is Per Petterson’s secret? He is always compared to Hemingway and Raymond Carver . . . but Petterson has more warmth. What he really knows how to do is to make the moment stand out with a complete, obvious clarity.” — Politiken (Denmark) “Masterful. . . . A deeply fascinating novel.”— Berlingske Tidende (Denmark) “Gripping. . . . Per Petterson is still a blessedly down-to-earth storyteller with a great sense of style, who succeeds in finding enough small words for great feelings.”— Stavanger Aftenblad “Per Petterson’s technique is getting more and more clear and distinct. . . . Petterson unconditionally deserves to be called a great writer.”— MorgenbladetFrom the Hardcover edition.