The Time of Light begins as Markus, a former German soldier, seeks atonement from an Armenian priest for his part in the Nazi invasion of Russia. Captured at the Battle of Stalingrad, Markus never returned to Germany, but tried instead to work out his destiny in the country and among the people he feels he has desecrated. His two friends who fought with him and survive the battle take different paths, one going east to build bridges, the other returning to Germany to seek consolation at home. Overcome by grief and shame, Markus turns his back on everything, including his Jewish first love Rachel and their son.
Framed by the 9-day Nagorno-Karabakh conflict of 1994 - the immediate cause of Markus's tears - The Time of Light is created from a series of tales, tales of war and tales of women, that arise from Markus's conversations with the priest.
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Gunnar Kopperud was born in 1946 and studied theatre in Strasbourg and at RADA in London. He also has a Masters degree in Philosophy from the University of Oslo. He has worked as journalist for ASSOCIATED PRESS and the leading Norwegian daily paper, DAGBLADET. He has spent the last few years mainly in Africa, winning acclaim and respect as a fearless and insightful reporter. He lives in Norway. Tiina Nunnally is the prize-winning translator of SMILLA'S SENSE OF SNOW.
War and its consequences are the subjects of Norway-based journalist Kopperud's dreamlike first novel, set during a 10-day skirmish between Armenia and Azerbaijan in 1994. As that conflict unfolds, it triggers the haunted memories of WWII vet Markus Wagner, a German expatriate who participated in the Nazi army's disastrous winter 1942-1943 battle and occupation of Stalingrad. Burdened by the weight of his past, Markus recounts his story to an old Armenian priest, in wide-ranging conversations that touch on everything from Bertrand Russell to the inevitability of war atrocities. Chief among these in Markus's recollection are the torching of a Russian church filled with civilians, and the rape and murder of a village girl. In both cases, Markus is tormented by his own conflicted role. Kopperud spaces the war scenes far apart, with lots of philosophy and history in between. When the memories do come, they are filled with microscopic detail and stark imagery, and they possess a veneer of shimmering beauty, thanks to Kopperud's lyrical descriptions of the most base savagery. "Some stories must either never be told or be told only the way dreams are told," says one character, an Armenian survivor of Turkish brutality, and Kopperud obliges with fanciful, hallucinatory scenes such as one in which a musically gifted German sniper plays a duet in gunfire with his Russian counterpart. While Markus is the book's central figure, the third-person narrative encompasses other viewpoints as wellAmost successfully that of Rachel, the Jewish lover Markus left behind in Norway. Other characters include Manfred and Dieter, fellow soldiers in Markus's unit. Gracefully manipulating fragmented voices and a patchwork narrative, Kopperud crafts a moving modernist meditation on German war guilt and the fundamental nature of good and evil, light and dark. (July)
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