Reviews about Niels Lyngsø
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On
Force Majeure
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Lyngsø attempts (…) to span the fundamental paradoxes of modernism in a poetry that is at once self-referential and curious about the external world, at once frag-ment and labyrinth. The result is certainly demanding reading – you have to mobilize both your eyes and your ears. You alternate between thinking so hard it creaks and giving in to the luscious and powerful music of the words. (…) Why is the work called Force Majeure? Probably because, down all its tortuous paths, it touches again and again upon what spoils straightforward thinking and polished plans. Existentially, the book may be seen as a timorous love song to that which overwhelms us, everything that grows and acts according to its own, ultimately inscrutable laws – for example, when desire possesses you, or when death carries off another, or when we gape, open-mouthed, at the shifting cloud formations in the sky.
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Erik Skyum-Nielsen, Information 3 September 1999
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On
Morpheus
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One of the essential lyric poets of recent times, Niels Lyngsoe, has given birth to a consummate work. And it is viable.
It is an overwhelming experience to have Niels Lyngsoe’s new work, Morfeus (Morpheus), in one’s hands… It is, furthermore, a virtuosic and convincing work. Lyngsoe here writes himself into the history of literature… Rarely have I been so aware that the act of reading means to have an actual object in one’s hands. Whether ‘Morpheus’ is a masterpiece, time will tell – but it is an unavoidable, consummate work.
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Bo Jørgensen, Politiken 8 September 2004
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On
Morpheus
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The publication Morfeus (Morpheus) will have its place in literary history because it is so radically experimental, both aesthetically, formally, with regard to genre and layout, and as designed object.
In many ways, this is a red-letter day in Danish print history, as Niels Lyngsø publishes a briefcase of a book. I have never seen anything like it here [in Denmark]. It is an impressive work, awe-inspiring.
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Erik Svendsen, Jyllandsposten 8 September 2004
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On
Morpheus
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…a poetry at once sensual, material and cognitively light and mobile. Morfeus (Morpheus) realizes the concept…by adding layer upon layer, laying track upon track, altogether into an totality without unity: a collection of fragments combined in a space where the reader can freely travel… Lyngsoe sets his vision of a swarm on the edge of chaos against another concept that he loves just as much: the clarified, classical, harmonious order.
[Morpheus is] an enormous comprehensive linguistic object which we hardly will get finished with for the time being, which for a long time ahead will set the agenda for many qualified discussions about art and literature, and which sometimes seems like a message that travels to us from a bright spot in the outermost space.
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Erik Skyum-Nielsen, Information 9 September, 2004
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