![\"\"](\"http:\/\/uni.hi.is\/rhv\/files\/2018\/05\/iallrisinninekt_400.jpg\")
<\/a>\u00cd \u00feessum sm\u00e1s\u00f6gum eru kynin \u00ed tilfinningalegu og kynfer\u00f0islegu n\u00e1v\u00edgi. S\u00f6gurnar draga hver me\u00f0 s\u00ednum h\u00e6tti upp mynd af berskj\u00f6ldu\u00f0um pers\u00f3num og dirfska h\u00f6fundarins felst \u00ed \u00fev\u00ed a\u00f0 \u00f6gra hinu vi\u00f0tekna, ekki s\u00edst var\u00f0andi styrk og getu karlmannsins \u00ed saml\u00edfinu. Kvenpers\u00f3nurnar eru \u00fe\u00f3 ekki sveipa\u00f0ar helgislepju, heldur standa \u00fe\u00e6r jafn naktar og reikandi.<\/p>\n\u00datgefandi: JPV forlag.<\/td>\n<\/tr>\n
Ritd\u00f3mar<\/span><\/strong><\/td>\n<\/tr>\n \u201e\u00c1 \u00feennan m\u00e1ta lei\u00f0ir R\u00fanar Helgi lesandann gegnum s\u00f6gurnar sem eru hver annarri hversdagslegri en b\u00faa yfir sannleika og d\u00fdpt sem lesandinn ney\u00f0ist til a\u00f0 me\u00f0taka.\u201c \u201e\u00dea\u00f0 er ekkert fyrirsj\u00e1anlegt \u00ed samskiptum karls og konu \u00ed \u00feessum br\u00e1\u00f0smellnu sm\u00e1s\u00f6gum R\u00fanars Helga. \u00dear eru allir a\u00f0 b\u00f6gglast me\u00f0 tilfinningar s\u00ednar og \u00fea\u00f0 skemmtilega er a\u00f0 \u00fe\u00e6r tilfinningar hafa ekki veri\u00f0 snyrtar af h\u00f6fundi til a\u00f0 l\u00edta betur \u00fat \u00e1 b\u00f3k . . . R\u00fanar Helgi hefur einkar gott vald \u00e1 sm\u00e1sagnaforminu, skapar sk\u00fdrar pers\u00f3nur og helsti kostur hans, \u00edr\u00f3n\u00edan, n\u00fdtur s\u00edn mj\u00f6g vel \u00ed \u00feessum s\u00f6gum.\u201c \u201e\u00cd allri sinni nekt er afar velheppna\u00f0 og metna\u00f0arfullt sm\u00e1sagnasafn. Metna\u00f0ur h\u00f6fundar kemur me\u00f0al annars fram \u00ed \u00feeirri fj\u00f6lbreytni sem einkennir s\u00f6guefnin innan \u00feessa afmarka\u00f0a ramma. S\u00f6mu fj\u00f6lbreytni er a\u00f0 finna \u00ed st\u00edl og uppbyggingu sagnanna . . . \u00cd allri sinni nekt er b\u00f3k skrifu\u00f0 af l\u00edfi og s\u00e1l, af h\u00f6fundi sem tekur samningu sm\u00e1sagnasafns \u00ed \u00fea\u00f0 minnsta jafnalvarlega og sk\u00e1lds\u00f6guskrif. A\u00f0 d\u00f3mi Listavaktarinnar er b\u00f3kin \u00cd allri sinni nekt gl\u00e6silegt sm\u00e1sagnasafn og sagan Dropinn \u00e1 glerinu \u00ed h\u00f3pi bestu \u00edslensku sm\u00e1sagna.\u201c \u2013 \u00c1g\u00fast Borg\u00fe\u00f3r Sverrisson, visir.is<\/p>\n \u201eKl\u00e1ra\u00f0i l\u00edka fyrir skemmstu \u00cd allri sinni nekt eftir R\u00fanar Helga Vignisson, pr\u00fd\u00f0ileg b\u00f3k. S\u00e9rlega samt\u00f6lin, \u00feau voru einstaklega vel skrifu\u00f0.\u201c \u2013 Lady Kisa, hugi.is<\/td>\n<\/tr>\n \"The Shaking\" is not so well developed, although it makes its roundabout way to a conclusion of its own. Here a slightly sick man in a women's lingerie store buys a set of underwear and sends it to the sales clerk. What is lacking, perhaps, is the development of the male character's motivation. He seems to be presented as more of a type than an individual. But Vignisson has made the understated narration such a ~~~~~~~~<\/p>\n By Kristjana Gunnars, University of Alberta<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":" Sm\u00e1s\u00f6gur. JPV forlag 2000. \u00cd \u00feessum sm\u00e1s\u00f6gum eru kynin \u00ed tilfinningalegu og kynfer\u00f0islegu n\u00e1v\u00edgi. S\u00f6gurnar draga hver me\u00f0 s\u00ednum h\u00e6tti upp mynd af berskj\u00f6ldu\u00f0um pers\u00f3num og dirfska h\u00f6fundarins felst \u00ed \u00fev\u00ed a\u00f0 \u00f6gra hinu vi\u00f0tekna, ekki s\u00edst var\u00f0andi styrk og getu karlmannsins \u00ed saml\u00edfinu. Kvenpers\u00f3nurnar eru \u00fe\u00f3 ekki sveipa\u00f0ar helgislepju, heldur standa \u00fe\u00e6r jafn naktar […]<\/p>\n","protected":false},"author":420,"featured_media":0,"parent":3,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-25","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/pages\/25","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/users\/420"}],"replies":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/comments?post=25"}],"version-history":[{"count":6,"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/pages\/25\/revisions"}],"predecessor-version":[{"id":1104,"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/pages\/25\/revisions\/1104"}],"up":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/pages\/3"}],"wp:attachment":[{"href":"https:\/\/uni.hi.is\/rhv\/wp-json\/wp\/v2\/media?parent=25"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n <\/td>\n <\/td>\n<\/tr>\n \n <\/td>\n \u201eFr\u00e1sagnarh\u00e1tturinn, st\u00edllinn, t\u00e6knin sem hann hefur \u00e1 valdi s\u00ednu, minnir \u00e1 sumt af \u00fev\u00ed besta og frumlegasta \u00ed enskum b\u00f3kmenntum, svo sem eftir Raymond Carver e\u00f0a J. M. Coetzee . . . \u00cd heildina er \u00feetta sm\u00e1sagnasafn fr\u00e1b\u00e6r lesning, b\u00e6\u00f0i \u00ed vitsmunalegu tilliti og fagurfr\u00e6\u00f0ilegu.\u201c
\n\u2013 Kristjana Gunnars, World Literature Today<\/p>\n
\n\u2013 Sigr\u00ed\u00f0ur Albertsd\u00f3ttir, DV<\/p>\n
\n\u2013 S\u00fasanna Svavarsd\u00f3ttir, Morgunbla\u00f0i\u00f0<\/p>\n\n <\/td>\n <\/td>\n<\/tr>\n \n Ritd\u00f3mur \u00ed World Literature Today<\/td>\n<\/tr>\n \n \"IN ALL HER NAKEDNESS\" is a new collection of ten stories by Runar Helgi Vignisson, who is fast becoming a veteran writer of the new generation of postmodernists in Iceland. Vignisson has published six books previously, the first of which appeared in 1984. He has also distinguished himself as a translator, and has rendered novels by Amy Tan and Philip Roth and William Faulkner into Icelandic, for which he
\nhas received much praise. The stories in i allri sinni nekt are no doubt inspired by some of the international literature Vignisson has involvedhimself in. The manner of writing, the style, the technical flair are reminiscent of some of the best and most imaginative English-language writing, such as that by Raymond Carver or J. M. Coetzee.While much of Icelandic contemporary fiction is straightforwardly modernist, often narrated in a plain and linear style, and more often
\nthan not realistic in tone, Vignisson's stories here are more daring stylistically. His narration will frequently become elliptical, shifting time frames and subjective viewpoints out of focus. Often the language is stark and the content rough, while simultaneously highly suggestive. The emphasis is both architectural and psychological, so that the style
\nwill end up competing with, or becoming of parallel importance to, the psychology of the narrators and characters. That interplay between what is highly formal and what is intensely suggestive and fluctuating creates a unique and appealing tension.Much of the content in this particular collection is concerned with sexuality and sexual relationships. \"Nudity,\" for example, centers on an encounter between an Icelander and a Welsh-Australian sunbather at a
\nnudist colony in Australia. Here we have a complete narrative of a friendship which eventually becomes physical, but in the end we cannot be sure any of it ever took place, or that it was not simply the imaginative flight of one of the personages. There are overtones of the Adam and Eve story, with the nudity and the snakes they are warned about
\nif they go outside the bounds of the colony. Such overtones become typical of all the stories. Settings and images are not to be taken for granted. In \"Midsummer's Day Erotica\" two couples end up bathing in a hot spring in the middle of the night after hiking on Snaefell glacier, which arouses the male protagonist to such a degree that he commits marital rape on returning home. Much of this is a speculation on the
\nforces of nature itself, the hidden magnetism of Snaefell glacier, renowned for its spiritual power, and the hot spring water and the midnight sun.\"Embers\" is an example of stylistic experimentation, with its shifting point of view and time frames in a cubistic manner. At its heart is the story of the rescue of a sailor who falls off a pier, and a neighbor
\nwoman who happens to be looking out her window and saves his life by telephoning the authorities in time. \"The Toll\" is a much more straightforward tale of a husband returning from a business trip only to find his wife has had an affair at a conference. They begin to have a very serious argument, in the middle of which his mother telephones and he acts as if nothing were wrong. The narrative is really about the
\nhardened surface of human psychology, which is bubbling underneath just like the volcanic land itself in Iceland, and the telephone keeps ringing to sound the alarm that the magma of human violence might break out any time.\"Another Story\" is perhaps the most reminiscent of Raymond Carver. This piece concerns a group of men who go on a camping trip in the mountains, where they encounter a Danish couple in the throes of lovemaking. After their nature hikes, it is really the love-couple that has caught their attention, and it obsesses them. But perhaps the least interesting or silliest story is \"The Old Maids' Club,\" which is a satire on a kind of
\nDead Poets Society formed by extreme feminists who are obsessed with virginity and with sex without men. They are not lesbians; instead, they use dildos and autoeroticism. This is a slightly retrograde piece, and not nearly as interesting as the other, generally very mature, narratives. \"What Were You Saying,\" presented as a monologue by an elderly Australian speaking to his young, female, Icelandic passenger,
\nis the story that reminds one most of J. M. Coetzee. The narrator is unreliable, and after a while a very uncomfortable sense of him develops as he praises himself and rambles on about his life and how well he has pulled everything off. He seems to be showing off to the woman in the car, and the whole narrative becomes a strange form of mating ritual.
\n\"The Drop on the Glass\" is also a very fine examination of a long marriage that has ended in the death of one spouse, while the other is both in mourning and in anger and begins to fumble about for a way into a new life. The philosophical and psychological nuances here are well considered.<\/p>\n
\nspecialty by this time, that the reader is not apt to mind. \"Duet,\" however, is a fine example of the author's storytelling capabilities, a tale wherein form and content come together in a nuanced interplay of all the elements found in the other stories. We have an emphasis on nature, human psychology vying with biological urges, fascination and pride in struggle with each other, and the battle between the sexes. All
\nin all, this volume of stories is an excellent read, and rewarding on both an intellectual and an esthetic level.<\/p>\n