Vaim is not a person, it is an imaginary place, somewhere next to the sea, rather small in size, and in conventional terms nothing much is happening there, aging persons go about their daily routines in their more or less splendid isolation, speaking to someone is a rare act of achievement, most of the talk is speaking to yourself not even really thinking aloud, just ruminating on and on for days, sometimes weeks or maybe years in a person’s life
Okay, my exercise in “slow writing”, a wee bit attempting to copy Jon Fosse, kept me going for 10 lines before the end of my paragraph. Jon Fosse keeps going without the end of a sentence punctuation for 66 pages in the German translation by Hinrich Schmidt-Henkel. Reading the three phrases of Vaim, each as an extended poem and an “homage” to life from three intertwined perspectives, resembles a cubist painting and, maybe, at least for me, each one like the novella “The old man and the sea” by Ernest Hemingway. It is also a triptych in the religious tradition of paintings, just as much as “Vaim” follows in the footsteps of “Waiting for Godot” by Samuel Beckett. For all those who don’t care about any previous literature just read Jon Fosse as an endless love story of platonic relationships, silence and romance, next to the sea. Please, don’t pass on your copy of Vaim to school-aged children as they might become very creative about punctuation. The only allowed end of a sentence are occasional question marks, which is a nice philosophical twist in Jon Fosse‘s literal exploration of time and love.
