Bibliographic record
Abstract
Reviewed by: Your Absence Is Darkness by Jón Kalman Stefánsson Daniel Haeusser (bio) Jón Kalman Stefánsson Your Absence Is Darkness Trans. Philip Roughton. Windsor, Ontario. Biblioasis. 2024. 456 pages. THIS INTRICATE AND LYRICAL novel, newly translated into English by the experienced Philip Roughton, opens in a churchyard amid the disorientation of death, with "the sunken gravestones and all the forgotten stories they contain." The amnesiac narrator has just come into cognition moments before, sitting in a pew inside the church, wondering if a man seated behind him is actually a person or the Devil. Outside, he examines the grave markers in the light of the sun. A woman who seems to know him approaches, and they begin to converse about her mother, who is buried there. She offers to reunite the bewildered man with her sister. Thus begins a metaphysical journey for our narrator to learn and relate the lives of the residents of this isolated fjord farming community—lives interconnected by past and paradox. Readers soon discover the apt introductory setting of the churchyard, both in the recurring theme of the dichotomy between life and death and the central role of Søren Kierkegaard's writings to the novel (the Danish theologian and philosopher whose surname literally translates to churchyard). That allusion immediately becomes reinforced by the first story given to the narrator by the woman about her mother, who fell in love with her father while already engaged to another man. With a gender reversal, this tale recalls one from Kierkegaard's Repetition. It thereby foreshadows Stefánsson's focus on repetition and recollection (the same movement, in opposing directions) to study his characters and the complexity of life in Your Absence Is Darkness. Stefánsson also manifests Kierkegaard's Either, Or with the seemingly false dichotomy of choice that life offers humanity: given two choices, no matter which is chosen, either decision will end in regret. Through the characters of Your Absence Is Darkness, Stefánsson demonstrates how such a fatalistic conclusion could be transcended and, by further extrapolation on the inevitable end of life, how death can likewise be transcended. In broad terms, the solution proposed is continued movement through time by other people. It is remembrance ("To forget is to betray life") and forgiveness ("Forgiving is sometimes the same as recognizing oneself "). In practicality, the solution exists for Stefánsson in writing and in music, through which one can perhaps come to regret nothing. Indeed, "Non, je ne regrette rien," by Édith Piaf, features as one of many musical pieces referenced in the novel, thematically and literally within a Spotify "Playlist for Death" curated by one of the characters. The narrator practices writing as a coping mechanism through which time slows to facilitate the processing and handling of life, a mechanism of feeling things and keeping things moving, if not ever really understanding it all. Who you are is completely irrelevant. Where your life went. Your love and betrayal don't matter here. What matters is that you continue with the stories you started. Hopefully, you've realised that you slow down time when you're writing. But you've got to pay the price for it. That's the deal. And that you mustn't hesitate once you've started. Death, says the old poem, is the sister of waiting. The many characters of Your Absence Is Darkness and its shifting narrative structure through space, time, and point of view can make the novel difficult to follow. While the advance reading copy I had did not include any concise list of characters to aid readers, the final publication supposedly does. I would consider one extremely helpful, even if containing "spoilers," but nonessential. While each individual character's quirks and details of their stories provide immense rewards for the reader, what ultimately matters are not the precise connections between those individuals or the plot of how their pasts tie together, so much as the fact that this web of life and dependence exists. In a similar manner, the writing of the novel is full of quick proverbial statements like those quoted above here. They vary from profound to humorous to combinations...
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.006 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".