The Conqueror is the second novel in a trilogy concerning Jonas Wergeland, a famed Norwegian documentary producer who, for reasons left unexplained at the end of the previous novel, The Seducer, has murdered his wife and, after a whirlwind of media attention and a trial in which he refuses to defend himself, sits in jail.
Told in short, seemingly unordered, chapters, The Conqueror is in the dark side of the rosy story of Wergeland’s life and rise to fame that was presented in The Seducer. While both novels are told in a similar style—with a narrative that jumps from place to place and from time to time indifferently, daring the reader to keep up, while maintaining a nearly unbelievable story-telling momentum and straightforwardness—The Conqueror, for its darkness, is something of a departure from the previous novel.
Gone is the hagiographic feel imposed by the unknown narrator of The Seducer, to be replaced by a more malign, and more mysterious, narrator. Appearing on the doorstep of a professor who has been hired to produce the definitive work on Jonas Wergeland’s life, this stranger has access to stories from Jonas’ life that throw a different light on Jonas’ murder. While at the end of The Seducer we feel that we know little about Jonas’ motivation for murder, the narrator in The Conqueror systematically tells us stories that make Jonas’ action seem more and more of a piece with his character.
He almost jumped out of his skin when the power saw started up. It sounded hellish in the darkness, as if the ghost of the Blücher itself had risen again from the deep. Jonas had already cut the lanyards of the shroud on the one side, and it won’t take him long to fell the mast, he knows what to do, cuts into the wood between the mast step and the fife rail; stands there in a cloud of exhaust fumes, watching the saw blade slice through the mast. No sign of Gabriel, although by the racket you would have thought someone was driving a motorbike around the deck. Jonas watched the mast slowly topple over…
Jonas was in the dinghy and some distance away from the boat by the time he saw a white figure come stumbling through the hatchway and heard this person grunting into the darkness, asking whether the Hell’s Angels were on the go or what. It was Gabriel — Gabriel in anachronistic long-johns and long-sleeved undershirt, eccentric to the bone, you might say.
‘You bastard,’ Jonas hisses. ‘You fucking bastard. I should have sunk her, but you don’t get off that easy.’
Translated from the Norwegian by Barbara J. Haveland, The Conqueror weaves together an incredible amount of small detail, and continues the addictive narrative begun in The Seducer, both drawing the reader further into Jonas Wergeland’s, and Norway’s, world and doing more than most novels in attempting to investigate the mysteries that make up a life.
by Jan Kjaerstad
Translated from the Norwegian by Barbara Haveland
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .