Knut Hamsun

As the only real aristocracy Hamsun sees the big landed proprietors who ruled over their little world as kings. He does not idealize the origin of the great families, but thinks that from pride and will power an aristocracy may develop, provided there is money. "But it must be wealth, not pennies. Pennies are only to coddle the race and protect it from wet feet." In "Children of the Age" (1913), and its big two-volume sequel "Segelfoss City" (1915) we follow the decline of a big family who once owned all the land that Segelfoss city was standing on. The first Willatz Holmsen was a lackey who acquired money somehow and built a palace. The second Willatz Holmsen acquired culture. He added white columns to the palace and filled it with books and works of art. With him the rapid economic rise of the family reached its height. The third acquired personal distinction and a sense of noblesse oblige which his failing fortune could not support. The lieutenant, as he is called, whose life we follow in "Children of the Age," is a proud, lonely figure, unable to confide to any one that a Willatz Holmsen might not be able to do all that was expected of him, and mortgaging his house rather than disappoint any one who looked to him for funds. The fourth is a musician. He is an aristocrat in his personal habits and in his sense of obligation, but he has lost his father's gift of command because he has no longer the old faith in the divine right of his family to rule. He can knock down an impudent workman, but he can not quell by his mere presence as his father could. Democracy has seeped into his tissues. He still flings gifts about in a lavish way as the Holmsens have always done, but he avoids occasions where he would hold the centre of the stage, and is at the same time a little hurt that he is not a wonder and a fairy-tale to the people as his father and mother were. He has the modern self-doubting habit of mind, and is glad to resign the position of leadership to the new man, the captain of industry, Holmengraa. Willatz Holmsen the fourth is, both in his fine, generous personal character and in his real genius as a musician, an illustration of Hamsun's theory that wealth in several generations will produce culture of heart and mind, but the young man's development carries him inevitably away from Segelfoss, and the brilliant career which is foreshadowed for him falls outside the frame of the story. As village potentates the Holmsens have had their day. Their dynasty is ended.

"King Tobias," as Holmengraa is called, appears in a golden cloud of romance. He is a peasant's son who has acquired a fortune in South America and comes back to his native place, turning the sleepy little village into a small city overnight. His ships bring grain from the Baltic; his mills grind day and night; he cuts timber; he establishes a telegraph station, and has work and money for everybody. But Holmengraa comes in contact with a new power which he is not strong enough to resist, that of the rising proletariat. His men read the "Segelfoss Times" which tells them that all the world rests on their toil, that they are wage slaves, and their employer is an extortioner. They make larger and larger demands; they become insolent and scoff at King Tobias who has now sunk to be plain Tobias to them. Unfortunately Holmengraa, who is a modest, fine-fibred man and very sympathetically drawn, has his weakness. Like the great Mack, he is unable to leave the girls alone, but he has not Mack's brazen assurance, and his position is gradually undermined. It is found that his fortune is not so great as first supposed, and his day is short.

So village dynasties rise and fall. At last comes one that is not too fine-grained or sensitive. Theodor Jensen with the sobriquet "paa Bua" (in the store) is a selfmade man like Benoni, apparently slighter and frothier, more of a parody, but in reality possessed of a harder and more slippery cleverness than that of the expansive Benoni. Theodor rises out of the most malodorous surroundings, but, like Benoni, is himself sound, on the whole. The village laughs at his airs, his rings, his scarf pin made of a gold coin, his absurd pretensions; but little Theodor has what the former dynasties lacked, a faculty for meeting every situation as it arises. He has pluck and shrewdness and is not entirely lacking in generosity. He builds a big store, and all the affairs of the village revolve about him. He extends credit, and servant girls are divided into two classes, those who have credit at Theodor's and those who have not. He brings the world to Segelfoss: silk dresses, canned goods, store shoes, fireworks, a theatrical troupe—everything that can be named. In a year of depression, when everybody was in a funereal frame of mind, Theodor bethought himself of tomb-stones, and presently the graveyard blossomed out with a sudden forest of slabs and crosses with "Rest in Peace" and "Loved and Missed" on graves that had been neglected for a quarter of a century. Theodor knows what the people want. The future is his.

Hamsun has a kindness for this merry privateer and enjoys blowing the wind that swells little Theodor's sails, but underneath the froth and sparkle there is a bitter didactic purpose in this book. It shows the reverse side of modern progress, when a backward community learns to use the material conveniences of the age without any corresponding mental advancement. The workingmen have learned to make demands, but while they refuse to yield the old submission to authority, they have not learned any sense of responsibility to their own conscience, and therefore grow more and more lazy and inefficient. The women forget to cook and sew while they buy flimsy readymade clothes at the store and feed their families on food that is bought ready cooked and chewed and almost digested. Neither men nor women know what to do with their leisure, and general demoralization is the result.

"Segelfoss City," with its dying aristocracy, its captain of industry, and its spoiled working class, is a miniature mirror of the modern world as Hamsun sees it. In the same category belongs his last book, "Women at the Pump" (1920), but there the deterioration is more complete. The events recorded are only a grey dribble from a leaky town pump. "People in big cities have no idea of standards and dimensions in the small towns," so runs the opening paragraph. "They think they can come and stand in the market-place and smile and be superior. They think they can laugh at the houses and the pavements, indeed they often think so. But do not old people remember the time when the houses were still smaller and the pavements still worse? And there at least C. A. Johnson has built himself a tremendously big house, a perfect mansion. It has a veranda below and a balcony above and scroll work all the way around the roof.... The small town too has its great men, its solid families with their fine sons and daughters, its immutableness and authority. And the small world is absorbed in its great men and follows their career with interest. The good small town folk are really acting to their own advantage in doing this; they live in the shelter of authority, and it is good for them."

What indeed would the little town have been without Consul Johnson? What glory would there have been in life without his silk hat and his rotund face beaming on the crowds as they make way respectfully? When the story opens, the village is assembled to watch the departure of his steamer, the Fia, for foreign waters. While they wait, the women at the village pump, standing with buckets filled and hands under their aprons, are discussing a great event that happened six or seven years ago, but is still undimmed in memories not over-burdened with weighty affairs. It was the day when "Johnson on the Dock" was made consul, and everybody who came into his store was treated with sweet cakes and a drink. Since then other consuls had sprung up like mushrooms; there was "Barley-Olsen" and Henriksen at the Works, but Consul Johnson's glory outshone that of all others, and his scandals only gave an added nimbus to his name. The measure of difference between Hamsun's earlier books and "Women at the Pump" may be seen in the distance between the really magnificent reprobate Mack and the flabby Consul Johnson, a man who has become a village magnate by the accident of owning the only store in the neighborhood. But village dynasties rise and fall, and the Johnson dynasty seems tottering, when it is saved by the consul's young, aggressive, thoroughly modern son, Schelderup, who suddenly comes home and raises the house of Johnson to its old glory. The consul's day is over, however, and it is pathetic to see him shrink back into the obscurity from which accident had drawn him. In his fall he appeals to us as never before, and Hamsun makes us feel that the foolish old man is, in his innermost nature, better than the hard-headed son.

Schelderup brought order into his father's affairs, but into some he brought disorder. He stopped various pensions that were being paid for reasons known to Consul Johnson and sometimes to the women at the pump. Among other drastic steps, he abolished the sinecure at the Johnson warehouse held by the cripple Oliver, and the annual subsidy paid to Oliver's son, the philologist Frank. It is Oliver who is the "hero" of the book; in him "the little town sees itself realized." Oliver was once a sailor with powerful arms, a dashing young blade with a pretty sweetheart and his life before him. He goes away on Consul Johnson's Fia and comes back a wreck. He has lost a leg and has sustained another injury not yet the property of the village gossips: he is unable to become a father. Oliver comes home to take up his life on shore, to fish a little, to lie and cheat his way through life, to starve sometimes, to "find" sometimes the property of others, to marry his old sweetheart Petra as a screen for another man, none less in fact than the great Consul Johnson himself, and to buy back his mortgaged home as the price of her favors to another great man of the village, the member of parliament and future cabinet minister Fredriksen. He lives on the memories of the days when he went to sea and on two events that have happened to him since his return. He has once won a tablecloth in a lottery, and he has once found a derelict ship and sailed it in, a deed which resulted in putting his name in the paper.

There is only one bright spot in the life of this human wreck, who grows physically more repulsive as the years go on. Only one thing unites him in a sweet and natural relation with our common humanity, and that is his love for the children who are not his. Hamsun here takes up an interesting psychological question and arrives at the opposite conclusion from that of Strindberg in "The Father."

He shows that fatherly affection is not a primitive instinct but a growth of habit. Oliver cares for his wife's children while they are small, and when they grow up they love him and have no interest in attaching themselves to their actual fathers. Indeed Oliver's importance in the community grows in the reflected light from his successful children, although the truth about their origin has long since leaked out at the town pump. There is, of course, irony in this, but there is also a certain optimism. In his great novels picturing the life of whole communities, Hamsun has thrown the glamour of his art over a big gallery of insignificant people. Mere puppets for his amusement they seem at first, and yet, as we penetrate more deeply into his work, we feel behind the smile a great sweetness, a broad humanity, and at bottom a faith that life fashions its own ends out of all this human dross and fashions not badly.

Hamsun's social theories will be sufficiently evident from the above recapitulation of the novels in which he is holding up the mirror to his generation. He rebels against all that would cripple individual effort and against all modern standardizing whether it applies to the choice of a profession or to the cut of a garment. The levelling process which, inasmuch as it can not make all great, must achieve equality by making all small, he believes to be a disadvantage for the small, who thus lose an ideal and an element of romance in their lives. He abjures all modern shams and artificiality and particularly the false standard that exalts the white collar job above the work involving a little honest grime. He would like to see his people a nation of farmers and fishermen with an aristocracy of big landed proprietors and brainy business men, but with all the middle class of administrators and clerical workers eliminated. With the latter he would sweep away most professional men and those who hang on the fringes of art and literature. The real genius, the poet by the grace of God, he regards as above and outside of all classes.

These theories, to which Hamsun lends the point of his whimsical, paradoxical extravagance, must be seen against a background of special conditions in a small country with a large number of brain workers proportionally, and with, perhaps, a tendency to over-value what passes for culture. Stated coldly and in detail they are, of course, impracticable. No nation or group of people can detach itself from the complications of modern civilization. Hamsun the sociologist is not on a par with Hamsun the poet. But when he leads us back to the deep, primeval well-springs without which our civilization must wither and die, it is Hamsun the poet who speaks.

GROWTH OF THE SOIL

Without the artifice of distant time and place, in the midst of modern conditions painted with realism and often with humor, he has created an illusion of the primeval. It is as though Isak, the man without a surname, coming we know not whence, walking through the forest in search of a place where he can begin to till the soil, were the first man in a newly created world. "There goes a path through the forest. Who made it? The man, the human being, the first one who came." He walks all day over the moors in the great stillness, turning the sod occasionally to examine its possibilities, then walks again until night comes. Then he sleeps a while with his head on his arm, and walks again until he finds the right place for himself, and there he makes his first home on a bed of pine needles under a projecting rock.

After this prelude, which has a cadence like the first chapter of Genesis, Hamsun allows us to follow the story of how the shelter under a rock became a farm. There were no banks for lending money to pioneer farmers and no societies for the reclamation of waste land, or if there were, Isak knew nothing about them. He was only one man who met nature alone. After a while a woman came to him out of nowhere and did not leave him again. Inger was hare-lipped, and Isak with his fierce beard and grotesque strength looked like a troll of the forest; for Hamsun has scorned to throw even the glamour of youth and rustic beauty over the pair. They were simply man and woman, brought together by the most elemental needs, working together, helping each other, meeting the demands of each day as they arose, and resting when night fell. The picture of their early days together, their delight in each other and their surprise at all the wonders that happen to them, is full of innocent, primitive charm.

There is an idyllic beauty about the first chapters of the book, but "Growth of the Soil" is not primarily an idyl. It is the story of human achievement centering in Isak's intense, never-ceasing effort to subdue the small part of the earth which he has taken for his own. It is almost as though he were really the first man without the accumulated resources of civilization behind him. He sleeps under the rock until he has completed a sod hut which gives him shelter against the cold and rain, and by and by a window is added to let in the daylight. In the course of time the sod hut gives place to a real house of logs, and the sod hut can be left to the animals. One day Inger disappears leaving Isak feeling very lost and lonely, but presently she comes back leading a cow, an event so great and wonderful that they spend their first wakeful night discussing it. Isak can hardly believe that the cow is theirs, but he makes the retort courteous by bringing a horse for his contribution. As for goats and sheep, they are already a little herd. The meadows yield grass, the grain ripens for harvest. Everything grows and thrives, grain, animals, human beings. There is a fruitfulness, a teeming, a bringing forth of everything that lives on the earth and by the earth. It is like looking on at a bit of the creation of the world. And there are Biblical parallels too with the man who came across the moor with a bag of bread and cheese and became the patriarch of a countryside.

Isak's strong, unused brain is developed by the necessity for helping himself. He invents various clever contrivances. He learns how to plan his work and fit one task into another so that every month of the year is utilized to the utmost advantage. He sows and reaps and mows; he threshes the grain on a threshing-floor of his own construction and grinds it in a mill which he has also made. He fells and trims the logs for his house, cuts them in a saw-mill which he has made with infinite effort and cogitation, and fits them together in the expert fashion which he has learned by studying the methods used in the village. The foundation has been laid of stones from his own land, lifted with his own brawny strength. An especially huge stone or an unusually big piece of timber put in its place is to him as real a triumph as the honors and emoluments of the world are to the more sophisticated. Isak revels in his work, and his powers grow with his tasks. He is a happy man.

The contrast between Isak's absorption in his work and the lazy, discontented apathy of the industrial laborers in "Segelfoss City" is, of course, evident. In the same manner the upbringing of his boys is contrasted with the education of children who are put through the usual school routine. While the latter are mere passive recipients of a knowledge which is thrust upon them from the outside without regard to their needs, the boys in the wilderness are allowed to develop naturally and from within. Every bit of knowledge that they acquire comes in response to the necessity for meeting a practical situation. They are stimulated by their father's example, as they are allowed to help him, and they exert their small brains to give the right answer when he asks their advice in all seriousness. Hamsun here returns to the subject of the transplanted country boy which has engaged his interest from the publication of "Shallow Soil," and allows the elder of Isak's boys, Eleseus, to attract the interest of a visitor who takes him to town and puts him in an office. The result is that the boy wilts like an uprooted plant. He is not bad, he is simply futile. He has lost interest in country pursuits without having any marked ability that would insure him a career in the city, and he has been imbued with the idea that it would be a step downward for him to go back from his poorly paid office job to the work of the farm. When he comes home, he tries hard to please his father, for he is a good, affectionate lad, but he has lost the poise of those who have stayed on the land. He has been infected by the restlessness of those who have no resources in themselves, but are for ever running about to have their emptiness filled by the drippings from other people's lives—from newspapers, moving pictures, street corner gossip. Sivert, the younger brother, stays at home, and it is he who continues to build on the foundation laid by the father.

The people in the wilderness have not had their minds made a sieve for the happenings of the outside world and have not inhaled the mental atmosphere that has been breathed again and again by millions of people. Their imaginations are fresh and strong, and they have time to live to the full in whatever happens to them. From every experience they draw the utmost that it contains of joy or sorrow. There is stillness and breadth of vision. Everything has its appointed place, and though human beings in their flightiness may stray from their orbit, the great forces that dwell in nature draw them back and hold them.

There is bigness and simplicity in their joys and sorrows and even in their sins. When Inger kills her hare-lipped baby to save it from the suffering she has endured because of the blemish in her own face, the story of how she buries the little body in the baptismal robe of her firstborn and puts a cross on the grave is profoundly touching. Her real grief and repentance, her meek submission to punishment and her thankfulness that her life is spared, Isak's grief and unfailing love, his loneliness and longing for her return from prison, all these belong to people who meet life without evasion or subterfuge.

While Inger's crime is raised to the level of tragedy, the story of the girl Barbro who kills her two children in pure wantonness and is acquitted in the new "humane" spirit after a parody of a trial, is a hideous, sordid tale. Hamsun here contrasts the people who live among the great realities, accepting the consequences of their deeds, with those who have learned to play tricks with life and cheat the Goddess of Justice. This to a certain extent justifies the inclusion of Barbro's story in the book, although it mars the big epic lines of the rest by its rather journalistic attacks on criminal procedure and satire of a certain type of "advanced" woman who espouses Barbro's cause. It was, as a matter of fact, an outgrowth of some polemical articles with the keynote "Hang them!" which Hamsun wrote in the Norwegian press, when the growing slackness in the treatment of women indicted for child murder had roused his indignation. Ugly as the story is, it ends on the note of optimism which runs like a golden vein through "Growth of the Soil." There is a hint that Barbro and her lover, the hard, grasping farmer, as they marry and settle down to till the soil, may be reclaimed by their work in harmony with the beneficent forces of nature. There is a suggestion that nature is great enough to absorb even the vicious and take them into her service.

Isak himself, a tiller of the soil by the grace of God, is the one person in the book who never deviates from the straight course. He is immutably rooted in the eternal verities. As the story progresses, his figure grows until it assumes a certain grandeur. He draws from his humble work a deep and gentle comprehension. There is forgiveness in him and strength to raise up what life has shattered. Isak has his oddities, but they light up his character like sunbeams playing over the face of a rock. How inimitable, for instance, the story, told with Hamsun's gift of comicality without malice, of how Isak brings home a mowing-machine, the first seen in the neighborhood; of how he drives solemnly sitting on the machine in his best winter suit and hat, as befits the importance of the occasion, although the sweat is running down his face; how he swells under the admiration of his womankind, and how he pretends that he has forgotten his spectacles, because, in fact, he can make neither head or tail of the printed instructions. When fate plays him the trick of letting the spectacles slip out of his pocket, although the boys pretend they do not see it, Isak is conscious that he is perhaps being punished for his overweening pride.

Isak's superstitions always take the form of thinking that when he does what is required of him, fate will be merciful. His dim religious sense, drawing all the small things of life in under the shelter of a great fundamental rightness which rules the world and in some mysterious way takes cognizance of his affairs, reminds me of "Adam Bede." Isak never read any book except the almanac and could not formulate his thoughts on religion, but he feels God in the loneliness, under the starry heavens, and in the might of the forest. He meets God one night on the moor and does not deny that he has also met the devil, but he drives him away in Jesu name. When the children grow large enough to ask questions, he can not teach them anything out of books, and the Catechism is generally allowed to repose on the shelf with the goat cheeses, but he tells them how the stars are made and implants the dream in their hearts.

An act which has something of an almost priestly function is the sowing of grain. That newfangled fruit, the potato, could be planted by women and children, but grain, which meant bread, had to be sown by the head of the house, and Isak went about his task devoutly as his forefathers had done for hundreds of years, sowing the grain in Jesu name. Twice Hamsun repeats the description of Isak sowing, and it is like a picture by Millet. With head religiously bared, he walks in the setting sun, his great beard and bushy hair standing round him like a wheel, his limbs like gnarled trees, while the tiny grains fly from his hands in an arch and fall like a rain of gold into the ground.

It is difficult at this time to say how future generations will judge "Growth of the Soil." We are still too near the events that made it to us an epochal book. It would be easy to pick flaws, and I have already mentioned what seems to me its most serious fault, the inclusion of an arid waste of discussion on child murder and its punishment. It would be easy, too, to say that its purpose was too patent, its sermon too direct. Nevertheless, the very simplicity and bigness of this purpose make it susceptible to artistic treatment, and I think there can be no question but that Hamsun has produced a great piece of literature which will stand the test of time.

What matters, after all, is not what critics will say of its esthetic merits. The supreme importance of the book lies in the fact that to Hamsun's own generation it has given poetic form to a message for which the world was thirsting. At a time when humanity was sick of destruction he reminded us that nature's fountain of renewal is inexhaustible. In an age which has been saddened by the pernicious doctrine of competition, the survival of the fittest, and all the slogans of false Darwinism, he preached the gospel of friendliness. We have been told that nature is cruel; Hamsun says that nature is friendly and beneficent. We have been told that all existence rests on fierce competition in which the weaker must go under. He does not deny that the battle is to the strong and the race to the swift; Isak does what no weaker man could have compassed, but Isak treads down no one on his way. On the contrary, his strength is the shelter under which the weaker can grow and flourish. He made the first path, but scores of people and hundreds of animals come to live in the wilderness through which he walked alone.

Competition with its fear and agony arises because people want to run faster than life. Peace and happiness are found in keeping pace with life. The modern business man is like the lightning which flashes here and there, "But lightning as lightning is sterile," says Geissler, the author's spokesman; and he speaks words of wisdom to young Sivert of Sellanraa: "Look at you Sellanraa people: every day you gaze at some blue mountains. They are not figments of the imagination, they are old mountains sunk deep in the past; and you have them for companions. You live here with heaven and earth and are one with them, you are one with all the broad and deeply-rooted things. You do not need a sword in your hands; you meet life bare-headed and bare-handed in the midst of a great friendliness. Look, there is nature, it belongs to you and to your people! Men and nature are not bombarding each other, they agree. They are not competing or running a race, they go together. In the midst of this you Sellanraa people exist. The mountains, the woods, the moors, the meadows, the heavens, and the stars—oh, nothing of this is poor and grudging, it is without measure. Listen to me, Sivert, be content! You have everything to live on, everything to live for, everything to believe in, you are born and produce, you are the necessary ones on earth. Not all are necessary on earth, but you are. You preserve life. From generation to generation you exist in nothing but fruitfulness, and when you die another generation carries it on. That is what is meant by life eternal."

THE WANDERER ARRIVED

In Knut Hamsun both these tendencies are present and are accentuated by his double racial heritage, his birth in an old peasant family of Gudbrandsdalen and his upbringing among the lively, adventurous fisherfolk of Nordland. In his work, the two strains are evident, the former predominating in his earlier, the latter in his recent books. Glahn, the untamed hunter and nomad, is a true child of the author's spirit, but so is Isak, the farmer and home-builder. The common bond that unites them is that both are closely affiliated with nature, one as the passionate lyrical worshipper of Pan, the other as the humble servant of nature's fruitfulness.

In the personal life of the author the same divergent tendencies may be traced. He has been a wanderer on the face of the earth, a vagrant laborer in Norway, a pioneer in America, a visitor to the capitals of Europe, a traveller in the Orient. But deep inherited instincts have always drawn him homeward. He has sought a place where his own life could strike root. Since the year 1896 he has made his home in Norway, and ever since the financial returns of his early books made it possible, has lived on his own land and cultivated it. His first home was in Nordland, at Hamaröy in Salten. There he lived for many years, surrounded by the wild, majestic, yet ingratiating scenery which impressed him in boyhood and which he has so often pictured. In 1917 he removed to the south of Norway, and, after a short residence at Larvik on the Christianiafjord, chose his present home near Grimstad, the small seaport town where Ibsen spent his unhappy youth as an apothecary's apprentice. There he has bought the estate Nörholmen with a fine mansion several hundred years old.

Though Hamsun has lived as much as possible in the outskirts of human settlement and has always kept in retirement, denying himself to sightseers and above all to interviewers, the kindliness which breathes from his work and, in spite of his nervous shyness, emanates from his personality, has made him very much beloved in his own country. A very sympathetic picture of his home life is presented by the Norwegian newspaper writer, Thomas Vetlesen, who in the autumn of 1920 was admitted to Hamsun's home through the good offices of the government. As it is the only authentic account we have, I will quote here a portion of the article which appeared in the Norwegian press.

"After a half hour's drive (from Grimstad) we enter a lane of hazel nut bushes, bending over the road weighted by their full, heavy clusters of nuts. Soon we catch sight of Hamsun's white, two-story house at the end of a quiet bight of the sea, not far from the main road. The automobile swings into the large yard with a quick, accustomed motion, and stops in front of the kitchen steps. The noise has announced my arrival, and presently the yard is full of people. Fru Hamsun and the children receive the stranger and welcome him to their home. There is Tore and Arild and Elinor and the lovely little Cecilie—a pretty four-leaf clover at ages ranging from three to nine summers.

"Within the house the spacious rooms with their pleasant old-fashioned style of building breathe a spirit of hospitality. There is a garden room turning out toward the road, a dining-room, a wide hall with a staircase leading to the upper story and on the other side of it a series of smaller rooms.

"Knut Hamsun comes in quickly from the hall, straight and tall, with powerful shoulders and head unbent by time and mental labor. His handclasp is firm and warm, but in his melodious voice there is an undertone of something veiled, wistful, almost hurt, which suggests the tremendous mental strain his intensive work has subjected him to for many years past.

"At the supper table Hamsun asks about mutual friends, touches lightly on current events, but is not talkative. Occasionally he seems to remember suddenly that he is getting too taciturn. But his thoughts are in Hazel Valley where he has chosen for his work room an ancient cottage built in the wilderness for herders. There he spends the entire day outside of meal hours, surrounded by the great stillness and by what seems a chaos of small bits of white paper filled with writing. Here is his work room, here he can have peace. Woe to him who would draw near to his circles! As yet no one has ever done it with impunity. There are the wildest reports current about the more than simple appointments of this Tusculum, where he has conceived and written his books for some years past.

"After supper, when he has lit his pipe, Hamsun generally selects a chair near the sofa where he has placed his visitor, and then he unbends. Quietly and naturally, the conversation turns on many things. He can ask questions, and he can tell a story well, vividly and entertainingly, in a vein all his own. His comments are often startling, full of cut and thrust, never malicious, but instinct with kindliness and understanding. As he talks, the listener is deeply conscious of the fact that he is a good man, a sensitive nature, with a heart and a spirit open to the weal and woe of humanity. And there is music in his voice. Even when talks of everyday matters, there is about everything he says an elevation that makes what he says impressive. It is like a glimmer of northern lights, often fantastic, always fascinating and strangely compelling. His sense of humor is never far away, and his laughter has a wonderfully young note rising from his healthy lungs....

"The interest that overshadows everything else in his mind is the farm, the work on the fields, in the barn, and with the cattle. He cares little for any other position and task than that of the farmer—with the possible exception of the sailor and the aviator; he willingly admitted that the latter might have a great future. Nothing delights him more than when he finds in his children proclivities for the work on the farm.

"It is rare to see a man so fond of children as Hamsun is. He never tires of hearing about the sayings and doings of his four fine children. He pays attention to whatever they say and studies their different aptitudes and their thoughts....

"Hamsun has a very large library containing many rare and curious books. What he likes best to read is memoirs and books of travel. In addition to his absorbing work on his new book 'Women at the Pump,' he has of late been extremely busy developing his estate Nörholmen. He has accomplished much, but much remains to be done. When in future years it is completed, it will form an interesting Hamsun chapter in itself."

While the author has been living his quiet, retired life, divided between his prodigious industry as a writer and his concern for home and farm, his fame has been spreading to the whole civilized world. In his own country he has long been acknowledged king, the greatest of living authors, the most widely read, the most beloved. In Sweden critics have acclaimed him as the most popular writer in the Scandinavian North, in spite of the fact that Sweden has among her own authors now living several stars of the first magnitude. In the autumn of 1920, Knut Hamsun received from the hand of the Swedish king the greatest formal recognition that can come to any man of letters, the Nobel Prize for literature. Outside of the Scandinavian countries he first became known in Russia, where the people regard him almost as one of their own. In Germany and Austria he has also been widely read for many years past. In France he has only recently become known, while in England and America it was the tremendous impression made by "Growth of the Soil" which drew attention to his earlier works and was the beginning of a popularity that promises to become enduring fame.

Knut Hamsun's Works

• Hunger (Sult) 1890. Published in English
• Mysteries (Mysterier) 1892
• Editor Lynge (Redaktör Lynge) 1893
• Shallow Soil (Ny Jord) 1893. Published in English
• Pan (Pan) 1894. Published in English
• At the Gate of the Kingdom (Ved Rigets Port) 1895
• The Game of Life (Livets Spil) 1896
• Siesta (Siesta) 1897
• Sunset (Aftenröde) 1898
• Victoria (Victoria) 1898. Published in English
• Munken Vendt (Munken Vendt) 1902
• Brushwood (Kratskog) 1903
• Queen Tamara (Dronning Tamara) 1903
• In Fairyland (I Æventyrland) 1903
• Dreamers (Sværmere) 1904. Published in English
• The Wild Chorus (Det Vilde Kor) 1904
• Struggling Life (Stridende Liv) 1905
• Under the Autumn Star (Under Höststjernen) 1906. Published in English with A Wanderer Plays on Muted Strings under the title Wanderers
• Benoni (Benoni) 1908
• Rosa (Rosa) 1908
• A Wanderer Plays on Muted Strings (En Vandrer spiller med Sordin) 1909. Published in English with Under The Autumn Star
• In the Power of Life (Livet Ivold) 1910
• The Last Joy (Den siste Glæde) 1912
• Children of the Age (Börn af Tiden) 1913
• Segelfoss City (Segelfoss By) 1915
• Growth of the Soil (Markens Gröde) 1917. Published in English
• Women at the Pump (Konerne ved Vandposten) 1920