Jon Fosse’s intentional postmodern approach

I frequently reflected on Binx Bolling and “The Moviegoer” as I recently delved into the remarkable series of seven novels, “Septology,” authored by the talented Norwegian writer, essayist, and dramatist Jon Fosse. I must admit that I had not encountered Fosse’s work prior to his receipt of the Nobel Prize in literature in October 2023. The Nobel citation highlighted Fosse’s “groundbreaking plays and prose that express the inexpressible.” During the press conference revealing the award, Anders Olsson, chair of the Nobel literature committee, remarked on “Fosse’s delicate language, which examines the boundaries of expression.”

As noted above, “Septology” is a collection of seven novels. However, they are organized into three volumes, the English translations of which provide insight into Fosse’s technique of employing his characters’ names to explore the intricacies of self-identity and interpersonal connections: “The Other Name” (novels 1 and 2), “I Is Another” (3 to 5), and “A New Name” (6 and 7). While Fosse firmly aligns with the “postmodern” genre of novelists, “Septology” is easier to comprehend than the works of writers like Don DeLillo, Thomas Pynchon, and Italo Calvino, for instance. While they certainly utilize similar methods, Fosse’s writing appears less focused on showcasing his intelligence and more on delving into the complexities of human existence.

‘Septology’ examines the essence of individuality

The central figure and storyteller in Fosse’s novels, the elderly artist Asle, bears a striking resemblance to Percy’s Binx Bolling. Asle seeks significance in the symbols, visuals, and individuals that shape his own self-recognition. I am uncertain if Fosse is familiar with Percy’s writings. However, Binx and Asle are unmistakable literary relatives. Similar to Percy, Fosse is a convert to Catholicism, as does Asle, who earns a humble income as a fairly accomplished painter. Catholic sacramental theology is central to Asle’s existence. The Rosary prayers surround his first-person storytelling.

“Septology” explores not just the boundaries of language, but also the essence of personal identity within the tangible “everydayness” of human existence, a term borrowed from Percy. Throughout this exploration, he encourages his audience to reflect profoundly on what it signifies to be an individual and how that significance is shaped in connection with others. Asle’s existence is deeply connected to another elderly artist, also named Asle, whose life bears an astonishing resemblance to the narrator’s. In fact, the blending of the two Asles’ lives lies at the core of the novels’ brilliance. The reader is prompted to contemplate whether these two Asles represent distinct individuals or merely different identities of the same person, shaped by the variables of hypothetical scenarios.

Crucially, in “Septology,” Fosse addresses the concern of God’s restorative actions within the world. He accomplishes this by reflecting on the narrator’s encounter with grace, unlike others in his vicinity who have rejected a life grounded in faith for temporary thrills that fail to satisfy the desires of an unsettled spirit. The Catholic audience will find particular interest in Fosse’s exploration of profound issues such as the essence of individuality, moral responsibility, pain, mortality, the obscurity of God, and the sacramental character of human existence. If, as I was, you are unfamiliar with Jon Fosse, I wholeheartedly recommend “Septology” as a gateway to this creative author, whose work is shaped by Catholic belief and sacramental understanding.