Not so much a sequel as an alternate perspective, Jon Fosse's coda to
his brilliant and much-lauded Melancholy picks up the story of tormented
landscape painter Lars Hertervig in 1902, shortly after his death.
Taking place, like Melancholy, over the course of a single day, it
treats us to the thoughts of Hertervig's sister, carrying on with her
life in the absence of her eccentric brother. She recalls their
childhood under a domineering father, remembering Hertervig's
difficulties fitting in, and likewise Hertervig the man: poors, always
hovering on the brink, fanatical about painting and his own perceived
shortcomings as an artist and human being. In the same hypnotic prose
for which Fosse is famous, Melancholy II serves as an investigation not
only into the collateral damage wrought by art and artists, but into a
master's tools and obsessions as well.