Very enjoyable. Not quite as good as kristin Lavransdatter, but good enough so that I'll read the rest of the series.

Here is what I wrote in 2008 about this read: "Only vague recollections of this series; this is interesting consider first series was read nine years earlier. Perhaps a testimony that Kristen Lattensdatter is the stronger series!" Was obviously on a medieval reading course during this time of life; check out other books read during the years 1995-97. And, interesting that they were all written by women. ( )

Part 1 of a tetralogy, with anew translation from Tiina Nunally (who also did the fabulous translation of Kristin Lavransdatter).

In many ways this book is similar to KL--it too takes place in Medieval Norway. The main characters are landowners and those in the church. But Olav is an orphan raised as a foster son, betrothed to his foster sister by their fathers before his father's death.

This volume shows their happy childhoods, and then the whirlwind of familial manipulation, misunderstanding, benign neglect, greed, and rampant misogyny that was all part of upper class Norwegian life. Olav and Ingunn are determined to marry--this volume details the trouble, suffering, difficulties, violence, negotiation, and waiting (so much waiting) that they go through to fulfill their betrothal.

I didn't find this volume quite as gripping as book 1 of KL, but that may be partly because OA is a man. I personally relate more to Ingunn, but she is a little insufferable.

Looking forward to part 2, though I have no idea when it will be out. ( )

The translator from the original Norwegian, Tiina Nunnally, waxes confusingly ecstatic about the prose style of author, Undset, calling it "lyrical" on the one hand and "plain" on the other. She praises the author's descriptions, especially of the natural landscape of Norway, but has nothing to say about scenic and action passages -- perhaps because they aren't scenic and get little development? Naturally, a reader would expect the person who works on a translation of a novel would have to enjoy working on the project. Likewise, a novel reader's expectations are different from and more demanding than those of a 'devoted translator'.. Sadly, "Olav Audunsson" lacks too many aspects of the novel to give the reader much else than a long telling narrative that lacks scenic showing.

Consequently, the characters don't live beyond seeming like pawns the author moves about the story board.; they feel manipulated rather than alive. Is it because of an early 20th C. style that doesn't adhere to more desirable technique required by today's readers? Not really. Plenty of other authors, writing at the same time and even a century earlier, were masters of scenic story telling who created vivid self-motivated characters whose personalities were multi-dimensional. So, I feel justified in faulting the writer.

Beyond style and characterization that is like that in biblical stories (genealogical and structured for the author's purpose of getting a point across) the plot in Undset's book is thin and foregone. Again, the fault is in the writing. Instead of surprises, readers get repetition; instead of a unique reading experience, the reader feels little "pull" from the power of narrative to be drawn into the life and incidents of the hero and heroine. Nor is there the satisfying feeling after one reads a truly good novel, that it is memorable and will resonate in memory long after one closes the covers. I'm not shocked that "Olav Audunsson" is a near "forgotten" and overlooked work in our era. because I'm already beginning to forget it

For me, the novel was uninteresting, not compelling, and can only rate a recommendation to other readers for the experience of learning what the Nobel Committee found to be prize-worthy in the first decade of the last century.

#OlavAudunssøn #NetGalley ( )

Spoilers:
Set in medieval Norway, the plot concerns two young teens, betrothed as children, raised as foster brother and sister, who fall in love and have sex before they are married. This sets up a conflict among the girl's kinsmen who want to disavow the betrothal after the girl's parents die. The boy, though rich, is not powerful, and Norway is in a state of of political upheaval, so power and influence are much more important than land. The boy commits a murder of one of her kinsmen and is exiled for eight years. Much of the book contains the life of the girl, as she lives as a low status noblewoman among her kinsmen. Eventually she is tempted to tryst with a traveling clerk and becomes pregnant, thereby thrusting the boy, who has returned to claim her, into disrepute.

The style is intentionally somewhat archaic -- like a fairy tale. I particularly liked the character of the girl. She is constantly referred to as being dim-witted but nevertheless the object and subject of abiding love. She is lazy and fairly useless but loves and is loved anyway, clearly despite the fact that its an unhealthy relationship for both of them. The book explores the idea of loyalty in many guises -- loyal lover, kinsman, friend. What should be the limits of loyalty?

Another interesting theme is the conflict between the old pagan laws and the new Christian rules. Power struggles between bishops and nobles, between justifiable homicides which may be excused by the payment of weregeld based on the deceased status and the new canon law which holds murder a mortal sin, punishable by death or banishment.

The characters, too, are caught between Christian and pagan folkways. As a history lesson this book is fascinating. Norway sounds gorgeous. I'd love to visit sometime. ( )