"Gustav Borsgård wish more konstighet in Martin Luuks narrative"
"Halfway into Martin Luuks Elkomikern turns berättarjaget directly to me as a reader and question if I really should read the novel. Is it not the case that books that attempt to tie together the bag always becomes less mobile and alive than they incomplete? Is not half the novels are always better than the whole? As berättarjaget puts it: ”Nothing is capable of being pulled to its limits without becoming distorted or discovered along the way”."
"nPartiet can be seen as a metakommentar about the novel itself – I'll come back to it – but also as a description of the huvudfigurens fate. Elkomikern is in many ways a classic story of rise and fall."
"We follow the Skarasonen Lars Fureskär which, together with the loyal brother, Lennart, is a hit with a strange performanceakt where Lars is leading the electric current through his body. During the glansdagarna Lars is a perpetual motion machine, but soon cools down the audience's interest. The självförbrännande lifestyle, as well as outstanding family problems from the past, leading Lars to one of the genre fairly predictable ending."
"nOch perhaps it is the genre that gets the novel's problems: Elkomikern feels retro in a not entirely healthy way. Much like Hjalmar Bergman's the Clown Jac, stuck with bad patience. Elkomikern want to be a tragic family chronicle of the family Fureskär at the same time as it is to say something universal about the world's disenchantment with, if the futility, of art. There are parties where Luuk roll up your sleeves and write about ”life” as unashamedly broad and epic as Karl Ove Knausgård do when nothing stops him."
"the Crux of the matter is that it goes very fast, all of it. Lars case, prior to his success has been established. Personporträtten becomes promising sketches, rather than the people I get the time to sympathize with. Here I think that Luuks own frame is working against him."
"If you want to print living, moving and ”half” stories you can't locate them in a form – the tragedy – that is so holistic approach and pre-determined. And if you want to write traditional drama, it will probably have a little less in a hurry."
"nIbland, I see glimpses of another, oregerligare narrative in Elkomikern. It is in the psychedelic descriptions of the Lars Fureskärs elshow, in bifiguren Siris nonsensartade anecdotes. In those moments is Elkomikern best: when it's weird, when I don't really understand where it wants to take me. I think that Martin Luuk is more served by cultivating this konstighet than to write traditional novels, which, unfortunately, appears to be just half-baked."