Pulling off an exercise like this, in which the extreme engulfs the everyday, requires a tonal and rhetorical tightrope act. Knausgaard avoids one danger, self-defensive irony, but seems to fall prey to the opposite vice: po-faced earnestness, a lack of detachment ... This time he is more actively exploiting the potential of the roman-fleuve, a form with an ability to complicate and comment on its own procedures, to work toward vast cumulative effects, to absorb and absolve its weaker constituent parts.
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