Fiction > Harvard Classics > Alexander L. Kielland > Skipper Worse > Criticisms and Interpretations > II
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Alexander L. Kielland (1849–1906).  Skipper Worse.
The Harvard Classics Shelf of Fiction.  1917.
  
Criticisms and Interpretations
II. By William H. Carpenter
  
ALEXANDER KIELLAND is the least Norwegian of all the Norwegian writers, not only among his contemporaries, like Björnson and Jonas Lie, but among the newer men of the subsequent generation, like Gabriel Finne, Knut Hamsun, and Vilhelm Krag, whose names we Americans have hardly yet learned to know. I mean this, however, less in regard to his matter than to his manner. Although several of his short stories are French in their setting and others are Danish, the greater part of his work and all of the important novels and plays act and have their being in Norway. Kielland’s attitude towards his material, on the other hand, is new to Norwegian literature. For the first time in his pages, among both his forbears and his contemporaries, we meet with the point of view of a man of the world. Björnson and Jonas Lie have always a sort of homely provincialism, inherent and characteristic, that is part and parcel of their literary personality, whose absence would be felt under the circumstances as a lack of necessary vigour. Kielland, on the contrary, as inherently, has throughout unmistakably an air of savoir vivre, in the long run much surer in its appeal to us outside of Norway because of its more general intelligibility. Björnson and Jonas Lie in this way have secured places in literature in no small part because of their characteristic Norwegianism; Kielland to some little extent has secured his place because of the want of it. Ibsen is here left out of the discussion. He is quite sui generis, and apart from the mere choice of environment, for his work could belong anywhere.…   1
  Kielland’s novels are one and all novels of tendency. With his first short stories as a criterion, and a knowledge of his own personal antecedents and the almost necessary predilections that he might be supposed to possess, his career as a novelist could not have been foreseen. His early stories betray no great seriousness of purpose, and his personal environment removed him as far as possible from liberalism in ethics and religion, from socialistic proclivities even remotely democratic, and a ready susceptibility to the whole spirit of the age. Yet these are just the characteristics of his later books. They are strong, liberal, and modern; so much so that many of them have evoked a loud spirit of protest in Norway, where leaven of this sort is still striven against in many quarters.—From “Alexander Kielland,” in “The Bookman” (1896).   2

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