Reviews about Henrik Bjelke
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On
The Atlas of Rumours.
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The style is the man, unmistakably, and regardless of what the subject is, the
characters talk and think like an echo of their originator. What this means is
that Bjelke’s characters talk the devil’s ear off, are oratorical geniuses,
snarling and at the same time meandering in arabaseque-like fashion, are fond
of dancing in every possible and impossible key, and on the other hand they are
downright gibberish. The author is usually in fine linguistic fettle, unruly
and uncontrollable.
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Erik Svendsen, d.4. maj 1992
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On
The Atlas of Rumours.
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Bjelke’s language is
a joy to read, it germinates in the most baroque fashion and quite without
delicacy. This is not elegant and masterly pastiche in the literary language of
the last century as in the blind alleys of his model, Højholt, but simply of
sheer pure delight in language or perhaps rather in syntax. And it is of course
in the deployment of this style that the boisterous multitude of information
has its point of origin.
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Lars Bukdahl d. 28. maj 1992, Kristeligt dagblad
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On
Itinerary for Otto
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Reading Bjelke is a pure pleasure. He is dazzlingly gifted writer, incomparable
in his sense for how tight and spare one can make a text without it losing its
sensuous, its likely and epic element. ‘Timetable for Otto’ is thus at once a
not-empathizing but empathetic, close and intimate ‘A child was harmed’ – story
and a precise, cool, pinpointing cultural analysis. It requires a masterly pen
to be able to seam these spheres together, but Bjelke is able to do it.
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Poul Erik Tøjner, Weekendavisen, 1990
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