Now I saw his lifeless state. And that there was no longer any difference between what once had been my father and the table he was lying on, or the … - Karl Ove Knausgård

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Now I saw his lifeless state. And that there was no longer any difference between what once had been my father and the table he was lying on, or the floor on which the table stood, or the wall socket beneath the window, or the cable running to the lamp beside him. For humans are merely one form among many, which the world produces over and over again, not only in everything that lives but also in everything that does not live, drawn in sand, stone, and water. And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor.

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About Karl Ove Knausgård

Karl Ove Knausgård (born 6 December 1968) is a Norwegian author.

Biography information from Wikiquote

Also Known As

Alternative Names: Knausgaard, Karl Ove
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Shorter versions of this quote

For humans are merely one form among many, which the world produces over and over again, not only in everything that lives but also in everything that does not live, drawn in sand, stone, and water. And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor.

Additional quotes by Karl Ove Knausgård

When I was outdoors, walking, like now, what I saw gave me nothing. Snow was snow, trees were trees. It was only when I saw a picture of snow or of trees that they were endowed with meaning. Monet had an exceptional eye for light on snow, which Thaulow, perhaps technically the most gifted Norwegian painter ever, also had. It was a feast for the eyes, the closeness of the moment was so great that the value of what gave rise to it increased exponentially, an old tumbledown cabin by a river or a pier at a holiday resort suddenly became priceless, the paintings were charged with the feeling that they were here at the same time as us, in this intense here and now, and that we would soon be gone from them, but with regard to the snow, it was as if the other side of this cultivation of the moment became visible, the animation of this and its light so obviously ignored something, namely the lifelessness, the emptiness, the non-charged and the neutral, which were the first features to strike you when you entered a forest in winter, and in the picture, which was connected with perpetuity and death, the moment was unable to hold its ground.

Modernist literature with all its vast apparatus was an instrument, a form of perception, and once absorbed, the insights it brought could be rejected without its essence being lost, even the form endured, and it could then be applied to your own life, your own fascinations, which could then suddenly appear in a completely new and significant light.

"What a stupid, fucking, idiotic country this was. All the young women drank water in such vast quantities that it was coming out of their ears, they thought it was "beneficial" and "healthy," but all it did was send the numbers of incontinent young people soaring. Children ate whole wheat pasta and whole wheat bread and all sorts of weird coarse-grained rice that their stomachs could not digest properly, but it didn't matter because it was "beneficial," it was "healthy," it was "wholesome." Oh, they were confusing food with the mind, they thought they could eat their way to being better human beings without understanding that food is one thing and the notions food evokes another. And if you said that, you were either a reactionary or just a Norwegian, in other words ten years behind the times."

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