“Dag Solstad, Norway’s most distinguished living writer, is a clear-eyed moralist who takes an existentialist’s interest in the compromises, evasions and accommodations we make to get through life… Wryly humorous and needle-sharp in skewering pretension, Solstad is unlike anyone currently writing in English… A deeply rewarding novel”
(Sunday Times, UK)

“[An] exquisitely composed novel… Dag Solstad is an unflinching explorer of the plight of educated humankind in the face of the inexplicable whose artistry matches his ambitious theme
(Independent, UK)

“At times dark and moving, even, on occasion, unexpectedly funny, Professor Andersen’s Night tackles a premise which would prove just as intriguing in a pacey thriller… It is visceral in its investigations into the derailing of one man’s life in all its sticky, existential glory
(Scotland on Sunday, UK)

“This is a subversive little novel in which morality becomes a football. Whereas Novel 11, Book 18 pivots on a decision that defies everything, Professor Andersen’s Night confronts morality, justice and compromise. Dag Solstad, who is frequently compared, with some justification, to Chekhov, has written a moral, almost allegorical novel in which he is far less interested in heroics than he is in humanity”
(Irish Times, Ireland)

“A clever psychological inaction thriller, which uses the witnessing of a crime as the catalyst for a midlife crisis”
(Guardian, UK)

“Solstad has an outstanding ability to portray mental processes accurately; here, the bleakness of Andersen’s outlook is offset by the lightness of the prose, nimbly translated by Agnes Scott Langeland, and by the wry at humour at play in it”
(Times Literary Supplement, UK)

“A penetrating combination of Hitchcock’s Rear Window, Camus’ existential ennui and Larkin’s social embarrassment”
(Times Higher Education Supplement, UK)

“At times dark and moving, even on occasion, unexpectedly funny…It is visceral in its investigations into the derailing of one mans life in all its sticky, existential glory.The book’s icy prose and long sentences – which in the wrong hands would feel heavy and laboured – flow with a quickness that hints at the workings of Andersen’s mind, and Solstad has a way of producing at the protagonists bourgeois anxieties desperately sorry for him”
(The Week, UK)

“Solstad, Norway’s most distinguished living writer, is a clear-eyed moralist who takes an existentialist’s interest in the compromises, evasions and accommodations we make to get though life. Wryly humorous and needle-sharp in skewering pretension, Solstad is unlike anyone currently writing in English”
(Sunday Times, UK)

“This short-but-striking novel quickly reveals itself to be…crime fiction, yes, but also a subtle and deeply introspective consideration of the inertia of lonely middle-age, its philosophy existentialist in the manner of Jean Paul Sartre, Ingmar Bergman and certain novels of Georges Simenon. The result is a highly complex and accomplished work”
(Irish Examiner, Ireland)

“Intriguing tale… Solstad expertly navigates the bizarre mind of a clever but lonely man locked in an existentialist nightmare”
(Telegraph, UK)

“For more than 40 years, Solstad has been considered among the elite of Norwegian authors… In intricate, partly coquettish sentences, Solstad constantly changes what is already uttered. It is in this way he creates the balanced and slightly ironic distance to articulated thoughts and contemplations that marks his prose and brings out joy in his readers”
(Neue Züricher Zeitung, Switzerland)

“Glacier-cold prose with an unsurpassed distance that creates a rare, uplifting pleasure”
(Berliner Literaturkritik, Germany)

”An elegant satire about the bourgeois intellectuals’ satiated lives, where the most spectacular rebellion consists of putting on jeans when going to the theatre”
(Kulturspiegel, Germany)

“Literature and society meets again in Solstad’s parable in a way one would wish to see more often. Without ideology, but in an utterly artistic manner”
(Der Bund, Germany)

”Solstad is an unusually accomplished cynic, who relentlessly uncovers the bourgeois moral considerations the professor makes in order to obscure the fact that he takes no action. Between a dinner party with friends and reflections about Ibsen, Solstad builds up a suspense which culminates in the professor meeting the murderer. A masterly anti-thriller!”
(Westfälischer Anzeiger, Germany)

”Tradional Cristmas rituals are often treated in literary texts… When an author such as Dag Solstad takes hold of this theme, the reader must be prepared for most eventualities. Solstad’s novels, plays and essays have for many years been something of the best Norwegian literature has to offer. Dag Solstad really knows how to set up surprising perspectives”
(Deutschland Radio, Germany)

”The Norwegian Dag Solstad elucidates the innermost corners of the human soul and is like a philosopher tracking down the existential”
(52 beste Bücher, Schweizer Radio DRS2, Germany)

”An intelligent, sad and ironic book, not just for creative types who are as old and wise as Professor Andersen”
(Basler Zeitung, Germany)

”It is a rare joy when a writer’s talent and wisdom fuse to make his books more than just a pleasant diversion”
(Wiener Zeitung, Germany)

”The plethora of long sentences in the book are anything but overwhelming or exhausting for the reader. Rather, they are like a flowing river on which the reader may at times float placidly, before suddenly being flung into lashing whirlpools, then to be washed up on a desolate bank in a state somewhere between reflection and despair”
(Züricher Oberländer, Germany)

”Using a succinct plot, Dag Solstad creates an almost panoramic portrait of society which reveals the immaterial deficiencies of our postmodern times and which, despite the ironic stance, leaves an uncomfortable feeling behind. The sentences, which are full to bursting with opinions, observations, feelings and information are an interesting contrast to the economical and slow-flowing action”
(Die Berliner Literaturkritik, Germany)

”Ornate sentences which span whole pages testify to Dag Solstad’s great artistry and elegant irony”
(Buch der Woche, NDR, Germany)

“This is a shaking book. And one of Solstad’s best. A more commendatory characterisation, I can’t think of”
(Bergens Tidende)

“…several layers of both existential seriousness and play with words. There isn’t a single boring page”
(NRK)

“… a pleasure to read his characteristic style”
(Adresseavisen)

“Dag Solstad has, as usual, written a good book, an important novel, a piece of exciting literature”
(Klassekampen)

“Unrelenting Solstad”
(Linn Ullmann, Dagbladet)