Reviews about Hans Scherfig
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On
Frydenholm
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Bloody satire, baroque humor, fiery indignation, political disclosures and authentic history writing (…) Hans Scherfig has succeeded in writing what is at once a satyrical, political-psychological deep penetrating novel and a historical account of the five accursed years, which will stand as the novel of the German occupation when most of what has been written hitherto will have settled to the bottom and is forgotten. (…) But Frydenholm (Frydenholm) isn’t to be quoted. Hans Scherfig’s new book is to be read. And it will be read.
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Martin Nielsen in Land og Folk, 5 November 1962
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On
Stolen Spring
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In its emotion it is a powerful book and in its plot an exciting one. The author has tautened his narrative by inserting a refined whodunit sinister effect in it. He has one of the school’s teachers be murdered by a pupil, and not until very late in the book do we unexpectedly and surprisingly find out which of the nineteen worthy gentlemen at the class reunion is actually the murderer – the never found out murderer. Never found out, even though in the very last pages he gives himself away! Scherfig has threaded this leitmotif through his school tableau with dazzling international finesse. There are scenes in the book (such as a scene with a chief physician making the ward rounds) that are nearly exalted in their comedy, and which with their consummate use of language demonstrate what a writer Scherfig, with this his third book, has developed into. Before, Hans Scherfig was a painter who wrote books. From this day on he will be a writer who paints.
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Frederik Schyberg in Politiken, 23 November 1940
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On
The Lost Monkey
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He is our most hilarious living novelist, but his wit is deadly. In the kindest and politest way he captures his victims, those who exploit others, our day’s cannibals, and carves them up alive to the delight of his readers.
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Frederik Martner in Demokraten, 14 October 1964
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