Buy new:
$16.20$16.20
$4.44
delivery:
Dec 22 - 28
Ships from: bgkirk Sold by: bgkirk
Buy used: $8.00
Other Sellers on Amazon
& FREE Shipping
82% positive over last 12 months
+ $4.99 shipping
95% positive over last 12 months
Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required. Learn more
Read instantly on your browser with Kindle Cloud Reader.
Using your mobile phone camera - scan the code below and download the Kindle app.
I Curse the River of Time: A Novel (The Lannan Translation Series) Hardcover – August 3, 2010
| Per Petterson (Author) Find all the books, read about the author, and more. See search results for this author |
| Price | New from | Used from |
|
Audible Audiobook, Unabridged
"Please retry" |
$0.00
| Free with your Audible trial | |
|
Paperback, International Edition
"Please retry" | $18.77 | $2.00 |
|
Digital
"Please retry" |
—
| — | — |
Enhance your purchase
An enthralling novel of a mother and son's turbulent relationship from the author of Out Stealing Horses
Norway, 1989: Communism is unraveling all over Europe. Arvid Jansen, thirty-seven, is trying to bridge the yawning gulf that opened up years earlier between himself and his mother. He is in the throes of a divorce, and she has just been diagnosed with cancer.
Over a few intense autumn days, Arvid struggles to find a new footing in his life. As he attempts to negotiate the present changes around him, he casts his mind back to holidays on the beach with his brothers, and to the early days of his courtship. Most importantly, he revisits the idealism of his communist youth, when he chose the factory floor over the college education his mother had struggled so hard to provide. Back then, Arvid's loyalty to his working-class background outweighed his mother's wish for him to escape it.
As Petterson's masterful narrative shifts effortlessly through the years, we see Arvid tentatively circling his mother, unable to tell her what she already knows he is thinking. In its piercing portrait of their layered relationship, I Curse the River of Time bears all the hallmarks of Petterson's compassion for humanity that has won him readers the world over.
- Print length224 pages
- LanguageEnglish
- PublisherGraywolf Press
- Publication dateAugust 3, 2010
- Dimensions5.61 x 0.97 x 8.66 inches
- ISBN-101555975569
- ISBN-13978-1555975562
The Amazon Book Review
Book recommendations, author interviews, editors' picks, and more. Read it now.
Frequently bought together

- +
- +
Customers who viewed this item also viewed
Editorial Reviews
From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
From Booklist
Review
“An emotional suckerpunch. . . . Petterson blends enough hope with the gorgeously evoked melancholy to come up with a heartbreaking and cautiously optimistic work.” ―Publishers Weekly, starred review
“Petterson tells another poignant, harrowing and sometimes comic story of a man coming to terms with his dying mother, his failures (job, marriage) and his failures in the eyes of his mother: 'You squirt!' But mother and son are bound by feelings and memories for which even the word 'love' doesn't do justice.” ―The Wall Street Journal
“All the inevitability of life, its fragile glue and the doubts that stalk the survivors are summoned and considered in Petterson's candid, allusive fiction. There is no easy sentiment, only genuine emotional power. His tender new novel is as masterfully evocative as In the Wake and Out Stealing Horses, as gentle as To Siberia, and as exceptional as all three.” ―The Irish Times
“Though Petterson is often compared to Hemingway and Carver, he has etched a vernacular all his own. The loveliness of his prose lies not only with its distilled nature, but also in its repetitions and unexpected cadences, which infuse his style with a tenderness unseen in other spare prose virtuosos.” ―The Collagist
“The atmosphere of this latest from Petterson, famed for the IMPAC Dublin Literary Award winner Out Stealing Horses, is as gray as the stark Norwegian landscape. Melancholy permeates every character like a dense Oslo fog. Yet, this author's gift is his ability to convey so much emotion in such a sparse prose style.” ―Library Journal, starred review
“[Petterson] offers here a kind of origami novel: time bends and folds around the characters so they are both young and old, healthy and sick, dead and alive. His considerable skill is evident in the clarity with which readers are immersed in each chapter--though we may leap backwards and forwards on the temporal plane, we never stumble or trip. . . . The final product is something important, lovely, and a bit mysterious.” ―Foreword Magazine
“[Petterson] deftly alternates between present and past. . . . His prose is elegant and spare.” ―Booklist
“[A] melancholy novel. . . . Fans--and curious newcomers--will snap it up.” ―Newsday
“Petterson's spare and deliberate prose has astonishing force.” ―The New Yorker on Per Petterson
“Reading a Petterson novel is like falling into a northern landscape painting--all shafts of light and clear palpable chill.” ―Time on Per Petterson
“I was completely taken with Out Stealing Horses from the first page. I found it powerful yet so quietly done I could hear myself breathe, and I finished with an exhalation of awe. ” ―AMY TAN
“Per Petterson is a profoundly gifted novelist.” ―RICHARD FORD on Per Petterson
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
I Curse the River of Time
By Per PettersonGraywolf Press
Copyright © 2008 Forlaget Oktober A.S., OsloAll right reserved.
ISBN: 978-1-55597-556-2
Chapter One
All 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 Vlerenga 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 Malm, 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 Gnter 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.
Chapter Two
After my mother had crossed the gangway of the Holger Danske and stepped on to the quay in the North Jutland town which was the town she grew up in and still referred to as home after forty years of fixed abode in Oslo, she walked along the harbourfront with the small brown suitcase in her hand and onwards past the shipyard which, in fact, had not been shut down, back then in the Eighties, when almost all other shipyards in Denmark collapsed like houses of cards. She walked past the old whitewashed gunpowder tower of Admiral Tordenskjold, which the town council had moved to the spot where it now stood from where it stood before, one hundred and fifty metres closer to the water. They had dug under the tower and laid down well worn railway sleepers, a giant winch was installed, and more than one thousand litres of soft soap were used to make the whole thing glide. And they did it. They dragged tons and tons of stone tower, centimetre by centimetre to its new location, which had been prepared in every possible way, so they could build a new dry dock for the shipyard without sacrificing one of the town's very few attractions. But it was a long time now since that operation had been carried out and she was really not quite sure if the story about the soft soap and the railway sleepers was entirely true; it did sound a bit odd, and she was not there when it happened. She was in Norway at the time, kidnapped by fate, like a hostage almost, but they did succeed. The tower had definitely been moved.(Continues...)
Excerpted from I Curse the River of Timeby Per Petterson Copyright © 2008 by Forlaget Oktober A.S., Oslo. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- Publisher : Graywolf Press; 1st edition (August 3, 2010)
- Language : English
- Hardcover : 224 pages
- ISBN-10 : 1555975569
- ISBN-13 : 978-1555975562
- Item Weight : 15.2 ounces
- Dimensions : 5.61 x 0.97 x 8.66 inches
- Best Sellers Rank: #1,371,661 in Books (See Top 100 in Books)
- #56,828 in Literary Fiction (Books)
- Customer Reviews:
About the author

PER PETTERSON won the International IMPAC Dublin Literary Award for the novel Out Stealing Horses, which has been translated into more than thirty languages and was named a Best Book of 2007 by The New York Times and Entertainment Weekly. Before publishing his first book, Petterson worked as a bookseller in Norway.
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
What is Arvid's Aristotelian, tragic flaw? How does time (as it "grow[s] wider each year") bear down on Arvid, and push him further down the river of life, a victim of its tumultuous current?
Arvid is thirty-seven years old, and fresh off a divorce. His mother is dying of cancer. I Curse the River of Time: A Novel (The Lannan Translation Series) follows the brooding, sulking, melancholic Arvid, as he tries to reconcile the vast distance that stands between him and his mother, and the little time he has left to do so.
It is the tail-end of autumn, when Arvid's mother finds out she is dying. Taken with news, she decides to head, without her husband, to the family's summer home in Denmark. Arvid decides to join her. It is here among the gray, autumnal, and vast landscape that Arvid tries to regain a closeness with his mother, and free his mind from the tidal pull of his past.
Arvid is "adrift in time and space", aware of the gulf that separates him from his mother. He feels alone in the world. "I had no name, no home in space," proclaims Arvid. His separation anxiety, his Freudian longing for a vague, alluring wholeness he felt in childhood is paralyzing. Arvid is a fickle ball of emotion.
Like Faulkner's character Quentin in The Sound and the Fury: The Corrected Text , Arvid is a character who is cursed by time. Quentin's existential angst, his rancor towards the incessant ticking of the clock, pushed him to suicide (he ultimately took a deathly plunge into the river, where he drowned).
Arvid is "adrift in time", because he is caught in its grip. He can't free himself of a certain time-consciousness. He can't get out of the river to the dry, warm bank. And when he gets close, it is only to realize his mother is on the opposite bank.
Out of Arvid's pain, his longing, however, comes beauty. Arvid is an aware and sensitive being, with an artist's eye for the world around him. His apartment in Oslo is situated not too far from the Munch Museum, where Arvid goes to look at "the colorful, soft, yet sinister paintings [he] loved so much."
Arvid's eye for heart-arresting beauty is of course Petterson's. Snow shooting up behind a bus's turning wheels becomes, "the frozen glittery dust whirling up in the slipstream of the bus, or in its wake, as after a boat. It hung like yellow curtains across the winding road and then was pulled inside by the wind after each bend before drifting in between the trees where it was gone."
In the words of Seneca, "the philosopher's life is...spacious." Through an eye for the beauty of the world, Arvid, like the artist, philosopher, painter, or poet finds his only respite from the clutching, heavy chains of time. Will Arvid find what he is looking for in the halls of the Munch Museum? Will he ever swim across the "Rio Grande" that separates him from his mothers arms?
The title of the novel, tellingly, comes from a Mao poem, "From images of departure, the village back then/ I curse the river of time; thirty-two years have passed." Even Mao feels the slow march of time, his own fickle mortality. But also from Mao comes a lesson, one arguably lost on Arvid- Mao found the outlet for his anxiety through the pen of a poet, through the eyes of a bemused observer.
As Petterson's novel unfolds, you will find yourself begging, praying, hoping Arvid will be able to clear the tears from his eyes long enough to see, record, hail the beauty around him; and in so doing, free himself from time's winged chariot. Petterson, with a master's touch, elevates the subtle, interior drama of Arvid to the highest stages of entertainment.
Petterson's novel is a portrait of the layered relationship between a 37-year-old man and his mother; he is on the verge of divorce, she has just discovered that she has cancer. The story swings between the present and the past as it dissects the nature of their relationship, particularly the way he disappointed her by leaving college (and the life she believed it augured for him) to pursue industrial labor in solidarity with the communist movement that held him in its sway.
Petterson is a fine writer and a brilliant, compassionate observer. There is an incredibly moving passage where the main character, Arvid, remembers a scene at Ullevål Hospital, where one of his brothers was dying, hooked up to a ventilator. the main character, Arvid, Consider this, the main character's memory of events surrounding the death of one of his brothers. He walks into the brother's hospital room, and his parents are both there with his brother. He thinks: "... I could not recall a single thing we had shared. No confidences exchanged between us, not in recent years certainly, and not when we were children either. And that could not be right. It was all there if only I could concentrate hard enough, but inside my brain there was something inattentive, some slippery patch of Teflon, where things that came swirling in and struck it bounced off again and were gone, a fickleness of mind. I was not paying attention, things happened and were lost. Important things." In that same recollection, Arvid reflects on an "inappropriate smile" on the face of his father, who was also there in the hospital room. "... I suddenly realized that he was embarrassed, that the expression I could see on his face, in his eyes, his faint smile, was embarrassment, and this while his third son was lying there dying just a few metres from him, or perhaps was already dead. And I was like my father was, we looked like each other, we were made from the same mould, I had always heard, and just like him, I too was embarrassed. I did not know death so close up, death was a stranger, and it made me embarrassed. I did not want to stay. I had just come in, but now I wanted out. I had no idea what to say and neither did my father, and our eyes met across the room, and we looked away at once and it made me feel so resigned and bitter, almost."
To my mind, that is exquisite writing -- so taut, so moving, so real. There are other passages of this quality in the book. Near the very end, for example, Arvid talks to his mother about her fear of dying, and he knows that he, too, is scared, not of being dead but of the dying itself, "the very instant when you know that now comes what you have always feared, and you suddenly realise that every chance of being the person you really wanted to be, is gone fo ever, and the one you were, is the one those around you will remember."
In sum, there is much to be admired in this novel. Petterson is a sensitive and thoughtful observer of the human condition, and his characters feel so real because of the finger-on-pulse quality of his writing. But in my view, this is a case of a character-driven novel that needs a little more ooomph to push it along.



