Kristin Lavransdatter

by Sigrid Undset

Kristin Lavransdatter (Collections and Selections — 1-3)

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Panorama of Norwegian life in the first half of the 14th century and the tumultous life of a woman, traces Kristin's life from childhood to death.

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susanbooks They take place centuries apart, but both are about young women's intense relationships with their fathers' and take place in similar, rural communities

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89 reviews
First, a note on the translation: I started reading this trilogy using the first English translation from the 1920s, but switched midway through to Tiina Nunnally's translation, and if you have the choice, I highly recommend this version. The prose is much more lively and readable, which Nunnally notes is more accurate and faithful to the original text. And Nunally has restored passages that were censored or omitted from earlier editions.

With that out of the way: this is a wonderful book, another of those I found myself amazed that I hadn't read long before now. I lingered over the last third or so just to keep reading it. It's got complicated politics, beautiful descriptions of the natural world, deep musings on spirituality and inner show more lives, and Undset's research into everyday life in medieval Norway is obvious but lightly worn. At its heart, though, this is the story of a human life, with all the ups and downs and ins and outs that entails. A lovely, lovely book, and one which I suspect I'll come back to often. show less
I started this book a couple of times as an audio book… but stopped after the having a hard time recognizing places and names. But then I had an AHA moment!!! I embraced this 44 hour 59 minute exquisite listen... and fell in love. (the book version is 1168 pages!) This well researched, and well written description of a young medieval Norwegian girls life, from girlhood to death is enthralling and fascinating. It is humanity at its best. One must love, live, procreate, feel guilt, grieve, love some more and then carry on. It is the story of the human condition that has not changed in probably thousands of years. This novel has EVERYTHING.

I must admit that I did have to tune out the severe religiosity in the story at times, but hey, show more that’s what it was like during these times. I can let that go. I loved the authors description of the physical details of the Nordic scenery, just beautiful. I can breathe the cold, fresh air from her vivid descriptions and see the glorious colors of the Nordic landscape, not to mention the Aurora Borealis. I would like to mention that the narrator did a fantastic job. She made every character stand out as an important individual, and I never got lost - there are many characters to be sure after such a momentous life as Kristin’s.

I’m amazed what this writer has created in her relatively short life, (age 67). Imagine what she could have created if she’d lived longer. I recommend this book for fans of Historical Fiction, human drama and the human experience. Very highly recommended, and please, to those of you who might feel impatient for a quick story, stick with it. It’s long but worth it.
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Kristin Lavransdatter has three volumes: The Bridal Wreath, the Wife and the Cross. I decided to read The Wreath in June, The Wife in July and The Cross in August. I'll be editing this review after each volume.

I read this book because a) June is the best time to visit Norway and b) June is the best month to get married (or divorced) in and Kristin is about the marriage of Kristin...eventually. The book starts with "The Bridal Wreath." When we first meet Kristin she is a very young child traveling with her father across Norway. In true 14th century fashion Kristin is betrothed to a wealthy, reputable man on a neighboring plot of land. As Kristin grows up she becomes increasingly rebellious, so much so that when she is nearly raped her show more community has doubts about who is telling the truth. As a result her family decides to send Kristin away to a convent to hide out until the rumors die down. While at this convent she falls in love with the dashing Erlend, a man who has reputation problems of his own. Excommunicated by the Catholic church because of an affair with a married woman, Erlend manages to seduce Kristin as well. Before they can be married Kristin becomes pregnant. The title of this section of Kristin Lavransdatter is in regards to the wreath she is supposed to wear on her wedding day. It is to signify virginity but Kristin wears it with shame, too embarrassed to tell anyone it is a lie. show less
What an amazing epic story. This book resonates on so many levels.
Despite being set in a faraway place at a faraway time, the characters and their trials and joys seem very real. The people are real because they are all flawed in some way - even the saintly monks reveal their temptations and failings.
Kristin is a character you keep hoping will finally find happiness. Even as you know her decisions are foolish, you know she had no real choice but to make them. Then she tortures herself ever after about having done so. Wonderful cast, fascinating history, lyrical descriptions of a harsh but beautiful country and a riveting tale.
½
But she couldn’t help it; it was her nature to love with great toil and care.


When I read, I seek the marrow of things. Details and description of lands I shall never see and times I shall never know are all very well, but I am a human being, and it is human beings I am concerned with. It is easier for me with some books than others due to commonalities of sex and race and culture, but more often than not that is a surface tension appeal, a reliance on shared references that both author and I indulge in. What matters is when the author dives deep into both thought and feeling, wrestling in such a knowledgeable yet empathetic way that it matters not that they were born in the 19th century and I was not, that they were religious and I am show more not, that they were holistically passionate about Norway in the Middle Ages and I am not. The fact that we share a gender helps, but considering how this work won the author a Nobel Prize for Literature and how beloved it is today, I'd say it's more than that.

But the most extreme and oppressive fears seized her whenever she thought of Simon—the way he had picked her up and carried her off and spoken for her at home and acted as if she were his property. Her father and mother had yielded to him as if she already belonged more to him than to them.

God only knew she didn’t consider herself more than a simple woman; she would have preferred to avoid taking responsibility for anything but her own children and her household duties. And yet she had been forced to deal with so many things that seemed to her more appropriate concerns for a man to handle. But Erlend had thought it quite reasonable to let them rest on her shoulders. So it didn’t suit him to act so overbearing and to rebuff her when she wanted to know about things that he had undertaken on his own that would affect the welfare of them all.


The woman who takes a path different from what has been ordained is a popular topic in the classics, but it is a rare piece of literature that so thoroughly and humanely follows that "fallen" life to its end. Rare is the work that brings forth a woman who, while willing and able to follow the mores of the world she has been brought up in, does not accept the assumption that she will submit to them entirely. Sewing, yes, marriage, yes, but also the consideration of her self as a subject with her own aesthetics and moral grounds, her own lusts and commitment to others. Her faith is one which critically evaluates the differences between what she has been taught and how she has been treated, and were she a man she would have had a vaster field upon which to experiment, possess, take responsibility for what she has done and not for what has been done to her. However, she is a woman, and that is an epic all in itself.

“And yet you cannot proceed with a change in the law before it has been enacted without exerting excessive force against the people—and from ancient times the people have had difficulty in accepting excessive force from their kings.”

How in fiery Hell was a man to rule his wife if he couldn’t beat her because of her high birth and his own sense of honor.


The person who recommended this to me called it a Norwegian [Middlemarch], and now that I have finished, I say it is a true statement for all intents and purposes. There are, however, some sizable differences, ones that I myself enjoyed but may not be as favorable to others. Where Middlemarch spreads across a web of plots comparable in length, this work is most concerned with its titular character, dipping masterfully into the heads of surrounding others when needed but only just, embellishing the sociopolitical concerns in a fully realized world of an intellectually restricted woman. Where Middlemarch dwells on several years of serious social turnovers, its sleepy Victorianisms are melodramatic hyperspeed in comparison to the Middle Ages of honor and pagans and the Black Plague. Where Middlemarch plucks and bends but more often than not turns towards the realistic happy ending, [Kristin Lavransdatter] triggers the fall, follows them down, and watches these human beings wrest their own measure of self-worth from a narrative that in any other work would have ended with the finality of death. Middlemarch has both depth and breadth, but it does not send its heroine through the ravages of death and time and all the social redemption they bring long after they would have done any good. It does not send its heroine into a gorgeous world of unjust human beings and wrestle it with her to the very end.

“Ah, young child, you probably think there's nothing else that entices in the world save sensual pleasure and wealth and power. I must tell you that these are small things that are found along the side of the road—but I, I have loved the roads themselves.”

Now she realized that her mother’s heart had been deeply etched with memories of her daughter, memories of her thoughts about the child from before she was born and from all the years the child could not remember, memories of fears and hopes and dreams that children would never know had been dreamed on their behalf, before it was their own turn to fear and hope and dream in secret.


There is a beauty from refusing to cut off a story at the "happily ever after" point, for none of us have the benefit of that. There is a beauty in forgoing the finality of a tragic death and setting the character forth to persist on their own terms, seeming flaws and shamefulness paling beside the very fact that they are still alive. While it is advisable that the reader seek out the latest translation of this and all its accompanying end notes, there is a story here that will ring true with any who have struggled with law and with other, even more so with those have wrestled in the dead of the night with their regretful past and unknown future. I will not claim that everyone will empathize with the lengthy bouts between one person and Christianity in the Middle Ages, but I can say with certainty that this is not a story that aims to convert. It is a story of a human being in a part of the world during a time of great religious focus, and never is the strength of any individual in the face of death and growth and transitioning faith taken for granted.

But the drifting blue shadows on the hillsides, the fair-weather clouds billowing up over the mountain ridges and melting into the blue summer sky, the glitter of the Laag's water beyond the trees, the white glint of sunlight on all the leaves—these things she noticed more as silent sounds, audible only to her inner ear, rather than as visible images. With her wimple pulled forward over her brow, Kristin sat and listened to the play of light and shadow across the valley.


It is a great work of humanity, this.

Now, whenever she took the old path home past the site of the smithy—and by now it was almost overgrown, with tufts of yellow bedstraw, bluebells, and sweet peas spilling over the borders of the lush meadow—it seemed almost as if she were looking at a picture of her own life:” the weather-beaten, soot-covered old hearth that would never again be lit by a fire. The ground was strewn with bits of coal, but thin, short, gleaming tendrils of grass were springing up all over the abandoned site. And in the cracks of the old hearth blossomed fireweed, which sows its seeds everywhere, with its exquisite, long red tassels.
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Amazing book! I have many Scandinavian ancestors. Reading this book explains so much about my family's behavior. I can more clearly see that it is due to generational trauma passed down the generations; created from trying to conform to religious ideas of purity. This makes me wonder how Christianity was forced upon them in the first place. This religion is not natural and does not fit in with the needs of our bodies and minds, as shown by this book.

The writing is so well done that I can clearly see the people, taste the food, and smell the land. Her descriptive language is some of the best I've ever read. I feel as if I were there with Kristen Lavransdattter, feeling her loves and sorrows.
½
Middle Ages Norway. Kristin Lavransdatter is the apple of her father’s eye and he has betrothed her to Simon. But before the wedding, she falls for another man—older, handsome, and a rogue. Stubborn to a fault Kristin refuses anyone but Erland and then pays the price the rest of her life. Headstrong Kristin uses so much emotional energy carrying guilt while also blaming Erland. This trilogy spans from Kristen’s betrothal to her last breath.

The story is told amid political upheaval in Norway and the Plague makes its appearances. Erland—Kristin’s villain and love of her life—is a playboy turned a country’s hero turned bad guy and more. I loved this book when I read it in my 20s. It is rich with historical detail. And while show more I find Kristin believable, especially as a teenager, her angst becomes monotonous. In my late 50s, she just made me tired. But, I’m glad to have reread it. show less

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Group read: Kristin Lavransdatter in 2018 Category Challenge (June 2018)

Author Information

Picture of author.
159+ Works 12,058 Members
Sigrid Undset was the daughter of archeologist Ingvald Undset. Cultural, autobiographical, and religious topics constitute a large and interesting portion of her fiction, which in Norway is categorized according to the time of action: medieval or modern. Jenny (1911), an idealistic and tragic love story, is one of the latter novels. Undset's show more comprehensive knowledge of medieval Scandinavian culture has its literary monuments in Kristin Lavransdatter (1920--22) and The Master of Hestviken (1925--27), historical novels that depict life in the Norwegian Middle Ages. She was awarded the Nobel Prize for Literature in 1928. Norwegian criticism of Sigrid Undset's writing centers on her religiosity (she became a conservative, almost reactionary Catholic in Lutheran Norway in the 1920s; she possesses an intensity of belief that is rather naturally expressed in the medieval novels. Yet while she has written religious polemics, the medieval novels are not tendentious. In fact, the central motifs are eroticism, marriage, and family life, in short, the full life of a medieval woman who sees herself in the light of contemporary Christian beliefs. These novels are great, realistic delineations of medieval personalities. During World War II she escaped the German occupation of Norway and fled to America, where she wrote her autobiographical Happy Times in Norway (1942). (Bowker Author Biography) show less

Some Editions

Archer, Charles (Translator)
Bouveng, Tove (Translator)
Eurén, Teresia (Translator)
Leithauser, Brad (Introduction)
Nunnally, Tiina (Translator)
Rondoni, Davide (Introduction)
Scott, J.S. (Translator)
Snethlage, A. (Translator)
Taylor, Geoff (Cover artist)

Awards and Honors

Series

Kristin Lavransdatter (Collections and Selections — 1-3)

Belongs to Publisher Series

Work Relationships

Common Knowledge

Canonical title
Kristin Lavransdatter
Original title
Kristin Lavransdatter
Alternate titles*
Kransen; Husfrue; Korset
Original publication date
1922; 1927 (English: Archer & Scott) (English: Archer & Scott)
People/Characters
Kristin Lavransdatter; Aasmund Bjørgulfsson; Lavrans Bjørgulfson; Simon Darre; Sira Eiliv; Sira Eirik (show all 24); Aashild Gautesdatter of Dovre; Ivar Gjesling; Gyrid; Inga; Ragnfrid Ivarsdatter; Ramborg Lavransdatter; Ulvhild Lavransdatter; Erlend Nikulausson; Bentein Prestesønn; Gaute Erlendsson; Arne Gyrdson; Trond Ivarsson; Magnhild; Margreth; Baard Munanson; Orm; Eline Ormsdatter; Sira Solmund
Important places
Sel in Gudbrandsdalen; Jørundgaard; Oslo, Norway; Trondheim, Norway; Husaby
Important events
Middle Ages
Related movies
Kristin Lavransdatter (1995 | IMDb)
First words
When the earthly goods of Ivar Gjesling the Younger of Sundbu were divided up in the year 1306, his property at Sil was given to his daughter Ragnfrid and her husband Lavrans Bjorgulfson.
Last words
(Click to show. Warning: May contain spoilers.)Without thinking, they both walked as lightly and carefully as they could in the new snow.
Original language
Norwegian
Disambiguation notice
This record is for the trilogy complete set. Please do not add individual books of the trilogy to this record. Thank you!
*Some information comes from Common Knowledge in other languages. Click "Edit" for more information.

Classifications

Genres
Fiction and Literature, General Fiction, Historical Fiction
DDC/MDS
839.82372Literature & rhetoricGerman & related literaturesOther Germanic literaturesDanish and Norwegian literaturesNorwegian literatureNorwegian Bokmål fiction1900–2000Early 20th century 1900–1945
LCC
PT8950 .U5 .K713Language and LiteratureGerman, Dutch and Scandinavian literaturesNorwegian literatureIndividual authors or works1900-1960
BISAC

Statistics

Members
3,431
Popularity
4,836
Reviews
79
Rating
(4.22)
Languages
15 — Danish, Dutch, English, French, German, Italian, Latvian, Lithuanian, Norwegian (Bokmål), Norwegian, Polish, Russian, Slovenian, Spanish, Swedish
Media
Paper, Audiobook, Ebook
ISBNs
67
ASINs
120