|
On
Trilogy: Song for Life
|
|
"Here we have an imposing description which reflects an enormous knowledge and unconditional love of the people up there in the north and of the dramatic lives to which they have always been subjected."
|
|
Inge Holm Knudsen, Fyens Stiftstidende, 19 October 1984
|
| |
|
On
Trilogy: Song for Life
|
|
"As in the first volume, one is astonished and delighted by the joie de vivre which Riel describes in the midst of this harsh and relentless existence. Riel is a marvellous writer of stories and his purpose throughout is summed up in the aspiration of his narrator as expressed in the last words of the book: to open our eyes to the beauty of the world."
|
|
Poul Borum, Ekstra Bladet, 29 October 1984
|
| |
|
On
Trilogy: Song for Life
|
|
"Jørgen Riel holds life´s red threads in his experienced hands and masters the most pictorial stuff of myth. Riel´s Greenland sagas are a modern masterpiece and a declaration of love to a people who survive as much by the magic of nature as from the animal food it provides."
|
|
Anne Chaplin Hansen, Jyllands-Posten, 7 November 1984
|
| |
|
On
The Black Man
|
|
"A magnificent story teller whose writing stretches, so to speak, from pole to pole, with the northernmost, where Greenland lies, as thematic and philosophical basis.... Den sorte mand (The Black Man) is yet another well-written brick in the brilliant collection of work which Jørn Riel has built up over the years."
|
|
Bo Tao Michadlis, Berlingske Tidende, 8 November 1990
|
| |
|
On
The Black Man
|
|
"However impressively these African pieces are devised and weighted, the sword of vengeance and heaven´s retribution fluttering to a full crescendo, it is the seven shorter war pieces with their restrained commitment which show Riel to be a great prose writer. The braggart and blabbermouth and begetter of tall stories can also turn down the gas. So straightforward. So powerful."
|
|
Ejgil Søholm, Morgenavisen Jyllandsposten, 8 November 1990
|
| |
|
On
The Good Weaver
|
|
"When you read a story by Jørn Riel, it seems as if it couldn´t be otherwise. It all feels so inevitable. As if the story is a natural phenomenon which can only develop by following its inherent precepts.....Riel writes about what is rudimentary, life stripped bare. The greatest joy, the greatest agony."
|
|
Claus Grymer, Kristeligt Dagblad, 24 September 1997
|
| |
|
On
The Good Weaver
|
|
"The tone is calm, the narrator always an onlooker in transit, but the force is thus more incisive....One settles tranquilly in an armchair and savours the flow of the narrative - which is not to be shaken off later on. Riel is a master of this art form."
|
|
Søren Vinterberg, Politiken, 5 September 1997
|
| |
