Reviews about Katrine Marie Guldager
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On
The Days Change Hands
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Katrine Marie Guldager’s début as a poet with her collection of poems, "The Days Change Hands" is both linguistically and poetically of rare excellence. (…) The poetry found in "The Days Change Hands" is of a quality seldom equalled.
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Jørgen Gleerup in Fyens Stiftstidende, 25 April 1994
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On
Crash
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Whereas her first book was convincing but also somewhat hesitant, here in "Crash" there is not the slightest slip. This book of 37 prose poems is almost frighteningly assured and original, with not a single weak text to be found - a little ‘already-a-classic’
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Lars Bukdahl in Kristeligt Dagblad, 15 May 1996
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On
Blank
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The only way one reaches this novel’s sudden ending is through the hypnotic, repetitive nature of the language that in return shows that Katrine Marie Guldager has a distinctive source of language to draw on.
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Egon Balsby in Weekendavisen, 17 April 1996
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On
The Green Eye
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This is more or less like a Chinese nest of boxes. Every time you open a box, you find a new box. Ideas and issues abound from the exceedingly eloquent Katrine Marie Guldager who entertains, spellbinds, and writes for dear life so that it is a sheer pleasure to read her book. (…) "The Green Eye" is really a novel of purpose. There is no such thing as justice if readers do not discover this super-talent.
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Holger Ruppert in BT, 10 November 1998
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On
Arrival at Husumgade
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Ankomst, Husumgade is something so rare as a book of poetry that acts as social criticism with a first-person voice that is socially and politically engaged, angry and incensed at child pornography, poverty, prostitution and other outrages. And which in some instances savors a misanthropic sarcasm with an occasional dollop of humor. Katrine Marie Guldager’s (…) familiar style cannot be denied: It is hardboiled short prose, breathless, biting, funny and – in small and, therefore, effective flashes – tender.
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Niels Lyngsø, Politiken 28 March 2001
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On
Copenhagen
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Guldager’s tales exude what was for Goethe the core of the short story: “the unheard-of event.” The characters of the story may not experience the unheard-of as much as the reader. Whereas big city life (the blasé, the hard-shelled, the more or less narcissistic) may seem to have closed its ears to the unheard-of, Guldager listens for its other tones. And the reader’s ears prick up and listen once again. (…) Guldager’s stories do not provide any quick or easy satisfaction. But you gain a consciousness, social and poetic, of the city and the text, isolated and connected, orchestrated and restless, fine-meshed and frayed. Toss a handful of social consciousness into a simmering sense of the text’s broad avenues and blind alleys, add musicality and a dash of irony – and you have 11 small, crackling golden eggs from Guldager.
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Lillan Munk Rösing, Information 22 January 2004
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