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What Kingdom

Audiobook
1 of 1 copy available
1 of 1 copy available
In honest, crackling investigations of the psychiatric system and the young people trying to find their way, Gråbøl's soaring debut offers a critique of institutionalization and an urgent recalibrating of the language and conceptions of care.
"I'm not inarticulate, but I leave language to the room around me," says Fine Gråbøl's nameless narrator as she dreams of furniture flickering to life in the room she occupies at a temporary psychiatric care unit for young adults. Our narrator is obsessed with the way items rise up out of their thingness, assuming personalities and private motives. She also cannot sleep and practices her daily routines with the urgency of survival—peeling a carrot, drinking prune juice—all an acutely calibrated exploration into having a home.
Structured as a series of intimate vignettes like those of Olga Ravn, What Kingdom thrums with the swirling voices of this shared home. Hector blares Michael Jackson from the recreation room and recalls a past in Peru when his psychoses were treated with exorcism. The town would shake the devil out of his small, teenage body before he was relocated to Denmark. Or Marie, who has lived in the temporary unit since she was eighteen, has no idea that her mother lives just four floors below in a permanent care unit.
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    • Publisher's Weekly

      July 22, 2024
      Poet Gråbøl makes her English-language debut with this striking chronicle of a young woman’s treatment for severe depression. The unnamed narrator arrived in a Copenhagen psychiatric care center some years ago following a course of electroconvulsive therapy, and lives on a floor designated for temporary residents. They’re permitted to come and go as they please, and they cope with their conditions by cooking together, taking up boxing, watching movies, and forming a cover band. The novel is composed of short, journal-like entries that range from slice-of-life vignettes about other residents, like the angry Waheed, who regularly blasts 50 Cent in his room, to elliptical impressions of the narrator’s mental state (“I sometimes wake up and realize that what’s going to happen has no name”). Most evocative are Gråbøl’s descriptions of ECT, which the narrator reflects on with ambivalence (“There was something both disturbing and fantastic about being wiped clean like that”). The narrator is also unsure about her future as she deals with the difficult reality of the present, a state of mind she expresses poignantly (“Those of us with no place to live and no place to die end up in this trial home, this impermanent halfway house”). Readers of Janet Frame ought to take note.

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  • English

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