Was there a point at which you got stuck at all? Or stopped? I mean, obviously, you couldn’t have stopped that long. JF: So you’re in this eight-week period, and you’ve sent your family away for one week. JF: Are there people you’ve left out simply for the purposes of narrative? JF : Who was your favorite writing teacher in that period? Other than Jon Fosse. That’s why I love literature, those books. KOK: Those were the books I read at that time, when I was at that age. JF: His buddy books, his books about trying to write and On the Road and Dharma Bums. JF: The closest thing I could think of to these… it reminded me just a tiny bit of Kerouac.
KOK: No, it’s very pure and simple and easy, and that’s why I could write them so quickly, too. That’s another kind of enormous restriction. I tried to really be that person, you know, and pretend like I didn’t know anything that was to come. For me, writing that book, those books-the childhood book, three, four and five-was like method acting. There was something I was longing for in that period and that longing is the engine in the book, I think. That’s the thing I don’t like about the book. a celebration of being free without knowing that you are. But there is a certain romanticism in the book anyway. I wanted this to be a really, really bleak book, you know, because that period in my life was terrible. JF: What advantages do you think you had writing about youth at the cusp of no longer being young? What does that scrub off the text, if you will, other than simply the skills you obviously developed by failing? He is uncorrupted and that was what he taught, just by being himself. He’s been doing his thing since he was 20, I think, and he still does. , it’s only about the book and the quality of the book. Which I haven’t followed, but I know of it: no compromises. But he still had so much credibility, you know. KOK: He was very nervous, very shy, but almost aggressive in his comments. JF: What was Jon Fosse like as a teacher? JF: It’s shocking to read it and to realize that at one point you were a lousy writer.
I couldn’t write it for another 20 years. But I had a feeling when I wrote it that this was the book I wanted to write when I was 20. I haven’t read it since then, so I really don’t know what’s in it.
It’s really one narrative, of me and my brother. So it has a very, very simple structure, the book: coming into the city, living there, and leaving the city-that’s the structure. But this was at the end of a long, long writing process.
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