by Johannes Goransson on Sep.25, 2013
In my last post about Göran Greider’s review of Lars Norén’s second diary, I talked a bit bout Greider comparing Norén to a dictator (or even Hitler). I thought that was strange and interesting, but there is some basis for it perhaps in the aesthetic views Norén expresses in these diaries.
“Soon I will start writing harder, more nakedly, briefer. Beyond the fog. Scenes like overexposed photographs. Dialogues that could be caught on a surveillance camera. Movement, anatomy, behaviorism. I long for the light that could be called merciless. That people say is merciless. I am on my way there. When all is over…”
A few pages he returns to this mercilessness when he’s (of all things) cleaning out his apartment:
“It’s a miracle that the earth can have space for all of us in our smallness tearing each other apart, as well as the quiet saints, the quietly working guest workers, the polish children whose eyes created darkness. I have started the great final sorting, the one that comes before the end and that will last until then. I will be merciless. This will be true of objects and thoughts and plans. I will choose mercilessly. I will talk about sheep go there, and the goats stay there. I can’t stand it. I will have a hard time selecting the sheep from that goats. And it’s the same with the wheat… I will not save that which I think of as lies and unnecessary…”
I love it when the diary becomes strange like this, and it does seem like some old testament god or dictator in this case (complete with photographs and surveillance).