Per Knutsen

Translator's Note: This is a machine-assisted translation completed on July 22, 2025. While care has been taken to maintain accuracy, this translation has not yet undergone human review or validation. Please note that specialized terms, historical references, and nuanced content may benefit from expert review.

Per Knutsen (1951–2022) is probably the Norwegian author who wrote the most extensively about homosexuality—often producing painful yet beautiful books by a modest man who wrote with boldness and candor.

Born and raised in Buvåg in Hamarøy, Per Knutsen (1951–2022) grew up in a home with few books. At primary school, there was a small book cabinet, but he read only a handful of the titles: 'My spiritual nourishment consisted of radio and weekly magazines,' he once remarked. Nevertheless, he discovered a book he truly enjoyed—Skjønnhetsdronning by Jo Tenfjord (writing under the pseudonym Hannebo Holm). The weekly magazines often featured stories about Jorunn from Moss, who became Miss Norway in 1959 and went on to place second in the Miss Universe competition. In 2012, Knutsen fondly recalled this in a humorous childhood memory titled "The Beauty Queen in the Book Cabinet":

When I was twelve, two classmates told me I acted like a girl, and warned that if I kept it up when we started at the central school, things could go badly for me. I threw away all my 'girly' things. The clippings of Jorunn from Moss went straight into the stove one day when I was home alone. I decided to become a real boy. After a while, I had managed to convince everyone that I was.

Fiction became increasingly important to him during his time at the upper secondary school in Nordfjordeid, and later in 1971, when he returned to Nordland to attend teacher training college in Nesna. He worked as a teacher for four years, but eventually realized it wasn’t the right path for him. In 1977, he moved (or perhaps fled) to Bergen, where he would live for the rest of his life.

The Author

Per Knutsen’s literary career began somewhat unexpectedly, as a broke student at teacher training college, listening to the radio program Barnetimen for de minste (“Children’s Hour for the Youngest”). He wasn’t particularly impressed. In the summer of 1974, he wrote a script that NRK accepted, and over the next five years, he created five series for the program. He also wrote eight scripts for the children’s TV series Labbetuss. This experience made him think that perhaps he could write an entire book—if he really tried. "I wanted to do something, or become someone, that wasn’t ordinary—something that would make me free, and make me visible," he said in 2016. His first book, Gutten og ørna (The Boy and the Eagle), was published in 1976, and from then on, he couldn’t stop writing. He went on to publish five more children’s books, and for Gull og sølv (Gold and Silver, 1982), he received the Norwegian Critics’ Prize for Best Children’s Book. He was a gifted storyteller, known for his sensitive portrayals of children, written with empathy and deep understanding. He became the first Norwegian children’s author to be awarded the government’s three-year working grant—and he received it twice.

From 1979 onward, Knutsen made his living as a writer and consistently included themes of homosexuality in his books: "Because we are part of the community, part of life," he said in 1987. He didn’t write about homosexuality, but about characters who 'just happened' to be gay—because they were part of real life. And, of course, because he was gay himself, and these were the kinds of people he felt he knew best. He had sympathy for his characters, but never pity. They were not victims, but ordinary people. Knutsen aimed to capture the reader’s attention within the first two pages—especially important, he believed, for young readers who approach a book full of expectation. He had deep respect for young people, particularly the most vulnerable, and he always sided with the outsiders. He never did research, relying instead on his imagination and his ability to empathize.

Books about and for young people

What mattered most to Per Knutsen was the relationship between children or adolescents and the adults in their lives. His books are as much about children as they are for them. Many of his stories center on neglected teenagers: 'It’s always sad to see people who are struggling. But what upsets me the most is seeing children in pain—children who go unnoticed, who are ignored, and who aren’t taken seriously.'

Several of his books are set in small communities in Northern Norway, often resembling Hamarøy—fishing villages or industrial towns. The adults are frequently the source of the children’s problems, often absent or dysfunctional. The young characters often feel betrayed by the adults, experiencing despair and a deep longing for closeness and warmth. A recurring theme is the absence of love, and what that absence does to a young person. Yet, these characters often appear resilient and capable of rebellion.

He didn’t write cheerful or lighthearted books, he said, but psychological dramas. 'I’m sure it’s possible to write about happy gays and lesbians—but someone else can do that. I can’t be bothered.' He could never imagine writing about happy people. He found them boring and felt more connected to those who were 'down and out' and struggling. Even though many of his characters face dark and difficult fates, his books are full of love and of people who need one another.

Per Knutsen didn’t believe that literature could change the world—but he did believe it could offer a helping hand, a form of support for unhappy and lonely people, showing them they are not alone. He liked writing about such individuals. Loneliness, he believed, might be the greatest taboo of our time, and literature could be a powerful remedy. The hardest thing, he said, is to admit that we are afraid and lonely. But through books, readers might allow themselves to do just that. That’s why good literature will never go out of style.

Murderers

He ran out of both inspiration and desire to write more children’s books and wanted to try something entirely different—perhaps inspired by the success of Gudmund Vindland’s gay novel Villskudd (Wild Seed) in 1979. Five years later, in 1984, Per Knutsen publicly came out as gay with the novel Mordere (Murderers). He may also have been influenced by another writer from Northern Norway, Odd Klippenvåg, who had published the gay love story Otto, Otto the year before. Both authors began their careers with the publishing house Gyldendal, but would later publish their works with Cappelen.

Knutsen’s first novel for adults, Mordere, still centers on teenage protagonists: Finn is 18, and Åge is a very mature 15-year-old. The story is set around 1960, and their relationship causes a stir in the small fishing village in Northern Norway. It is a thought-provoking novel—harsh and brutal, tender and violent, filled with both hatred and love, and written in Northern Norwegian dialect.

"Can a boy be in love with another boy?" Åge asks at last, breathless. "Is that even possible?"
"I’ve never heard of it," Finn replies. "But I think it’s possible. Do you?"
"Yes," says Åge. "I know it’s possible." 

Murderers deals with trawlers, sailors, whaling, and homosexuality. In his History of Norwegian Literature, Øystein Rottem was reminded of Melville’s great novel Moby-Dick. As is often the case in Knutsen’s work, he offers little background on his characters and is not always willing to explain why they act the way they do. But this may well be intentional. 'I don’t like having everything explained to me when I read either—I want to figure it out myself.' In this way, the reader’s imagination is activated.

Per Knutsen wrote what might be called “social realist” novels—or “psychological realism,” as he himself described it. His books portray damaged children, adolescents, and adults, all marked by longing and loss. The plots are usually not overly complex; instead, they offer direct and unflinching depictions in a language that is often plainspoken and honest. He had a keen eye for life’s nuances and a sensitive understanding of what it means to be young and in love.

Wam and Vennerød

In 1988, Per Knutsen published two works of fiction: Gutten som kunne fly (The Boy Who Could Fly), marketed as a novel for adults, and Svart cayal (Black Eyeliner), presented as a young adult novel. This dual categorization allowed both books to be eligible for acquisition by the Norwegian Arts Council in the same year. The protagonist of The Boy Who Could Fly is Lakki, an only child—restless and unmoored—thirteen years old and on the cusp of puberty. Forced to take part in an adult world that his divorced parents themselves are unable to manage, Lakki searches for meaning and stability in the city, but finds none, and eventually spirals out of control. The title is symbolic: wings begin to grow from Lakki’s back, suggesting a desire to escape—either physically or through suicide. In the end, Lakki tears off the wings in frustration, a gesture that signals his decision to face life on his own terms. Lakki is a character with great potential, and he manages to find his footing. The novel is a powerful, unsettling, and realistic portrayal—storytelling with a distinct momentum.

Four years later, the film Lakki, directed by Wam and Vennerød and based on the novel, was released. It received poor reviews and limited audience attention, becoming the least successful of the duo’s films. That same year, the book was reissued under the film’s title, Lakki. The filmmakers later re-released the film under its original title, The Boy Who Could Fly, and it went on to win the award for Best Youth Film at the Giffoni Film Festival.

Per Knutsen’s books generally received positive reviews, but the young adult novel Svart cayal was harshly criticized by Knut Faldbakken in Dagbladet, who called it 'a mess of half-formed thoughts and themes.' The critique likely stemmed from Faldbakken’s view that Knutsen treated the theme of homosexuality too lightly—for instance, in the way the protagonist Jonny, somewhat stereotypically, wears makeup and dresses in women’s clothing. But Jonny is, above all, a young person testing his boundaries. In 1995, Wam and Vennerød adapted the novel into the film Sebastian, giving the main character a new name. This film was better received and stands out as the only Wam and Vennerød film with an openly gay protagonist. Both films are available online.

Stage plays

One sleepless night in 1989, Per Knutsen came up with the idea for the play Edel har fest (Edel Is Having a Party). The story centers on Edel, a young woman with a devout rural background who has moved to the city, lives in a rented room, and works as a cashier. One evening, she receives an unwelcome visit from Ruben—a streetwise, gay, drug-addicted sex worker—who refuses to leave. The play became a success at Den Nationale Scene (DNS) in Bergen, with 85 performances, and was also staged at Oslo Nye Teater. However, the book version was censored. Edel har fest was burned by a Christian teacher at Meldal Secondary School in Sør-Trøndelag, along with recent youth novels by Ingvar Ambjørnsen and Bjørn Erik Hansen. The teacher acted without consulting colleagues or school administration. These were books provided free of charge by the Norwegian Arts Council, but the teacher, who was responsible for the school library, claimed that young people should not be exposed to words like “damn,” “cunt,” and “dick.” The incident received widespread media attention, and the teacher was dismissed.

Two years later, Knutsen won third prize in the Arts Council’s playwriting competition with the light-hearted comedy Er du naken? (Are You Naked?). The play follows young Steinar in Northern Norway, who receives an extended visit from a vulnerable teenage cousin from Oslo. It was performed 54 times at DNS. In 1992, Knutsen’s play En dannet kvinne (A Cultivated Woman) was staged 35 times at DNS. The drama explores the life of Norwegian-born Gisken Wildenvey, with some focus on her husband, Herman. The content revolves around intrusive journalists who exploit and glorify the myth of the artist and celebrity culture.

The Female Swimmer

In 1994, Per Knutsen returned with the young adult novel Svømmersken (The Swimmer), which was nominated for the Brage Prize. The story is compelling and well-crafted—intense, with a particularly strong narrative drive. It centers on the encounter between Unni and Frode, who live in the same apartment block. Unni is neglected by her single mother, who struggles with alcoholism and is often absent. One day, Unni knocks on Frode’s door and asks to borrow money. Frode is originally from Pakistan and is actually named Khalid, but he believes that by hiding behind a Norwegian name, he will be more easily accepted in society. He is gay and was thrown out by his father when he came out. Khalid dreams of becoming an actor, but Unni’s sudden presence disrupts his plans. She needs someone who cares, someone to look after her. She forces her way into Khalid’s life, and together, they change one another.

In an interview with Bergens Tidende on October 20, 1994, Per Knutsen stated: “The worst thing about being gay today isn’t being beaten or bullied—it’s being made invisible. We’re not seen as part of the whole, and everyone is assumed to be heterosexual until proven otherwise. That’s why it’s important for me to write about gay people.”

It was around this time that Knutsen stopped drinking—something he had done since the age of 18, and increasingly more than just socially. Part of the reason, he later said, was that he had been trying to escape his fate: being gay. He had perceived it as a terrible fate. He developed problems with alcohol and became sober toward the end of the 1990s. He once compared writing to drinking: “Writing is like drinking alcohol. It’s not the taste I’m after—it’s the effect.”

Rått parti (Unfair Game)

The following year, Per Knutsen published Rått parti (Unfair Game), a kind of crime novel for young readers. The story follows three teenagers with difficult childhoods as they confront adult life in a society marked by prejudice and betrayal. They escape from a youth home, grow closer to one another and to themselves, and each experiences love in their own way. It’s a powerful portrayal, and the novel was censored by teachers at Vigestad Secondary School in Rogaland. The concern was that the language and setting might influence students—precisely because the book was so gripping and well written. Rått parti was awarded the Ministry of Culture’s Literary Prize for Young Adult Fiction.

Not all children’s and young adult novels receive media coverage, but Knutsen was an exception. Rått parti received ten reviews, nine of them positive. The book was translated into Swedish, Danish, German, and Dutch—along with several of his other works. In an interview with Bok og Bibliotek (2/1997), the headline read: “Raw Author with Gentle Values.” The article described Knutsen as “no softie,” but someone who strives to portray real people—flesh and blood. He worked intensively with language and form, always seeking new ways to express himself and adapting his language to suit his characters. He drew on his experience in theatre to create dramatic tension and structure his narratives. His aim was to show that not everything is hopeless. His characters are not paralyzed by circumstance—they keep fighting.

The Novel with a Capital N

The dream was to one day write the novel—with a capital N. That was what drove him forward, he admitted in 1997. He said the same to NRK in 2016, with a nod to Olav H. Hauge: “And then there’s ‘The dream we carry,’ that one day I’ll manage to write something truly great, and that I keep pushing myself, keep my head clear, and just continue, continue, continue.”

Per Knutsen also ventured into crime fiction, and in my opinion, he succeeded—with original plots and intricate narratives—in both Høytrykk (High Pressure, 1997) and Tigermelk (Tiger Milk, 1999). His gay characters are portrayed as 'normal' and naturally integrated into the storyline. He had a talent for titles, as seen in Å salte et hjerte (To Salt a Heart, 2001). In this novel, for the first time, he portrays a closeted gay man around his own age—about fifty—who falls in love with a Polish porn star online and travels to Poland. The novel received strong reviews.

Much attention was also given to the novel Frøken Markussens rykte (Miss Markussen’s Reputation), about an “unnatural” relationship in the 1960s that challenges the reader’s imagination. It’s a beautifully told first-person narrative. The two women are lesbians at a time when such a relationship was unthinkable.

Mainly About the Dark

Per Knutsen found it far more enjoyable to write about intrigue and cruelty than about ordinary, kind, and well-adjusted people. He openly admitted: “I’m not exactly a cheerful guy, and I find it easier to see the dark and tragic sides of life than the bright and positive ones. It’s in the heavy moments that you really get to know yourself. Joy is self-sufficient—it doesn’t need to be processed.” He believed that the grim aspects of life were the most compelling to write about. But, he added, there must always be a sky above it all—a sense of longing. That, he felt, was a beautiful quality to have in a novel.

At age 59, Knutsen published the novel Gamle menns elskov (Old Men’s Love) in 2010, about a disillusioned and lonely gay man of 68. According to the author, the story is somewhat provocative, involving violence and brutality, but the book is well executed. Knutsen was unafraid to use direct language and to describe, in detail, things that are rarely explored so thoroughly in literature. The protagonist is driven by burning desire, desperation, and loneliness. It is not a cheerful or uplifting book, but rather a dark tale of cynicism and a lack of solidarity. (See the interview “Knutsens gamle griser” in Blikk, March 2010.)

The novel attracted significant attention, not least due to its feature on the TV program Bokprogrammet, where Knutsen and host Siss Vik sat at London Pub discussing the romantic needs of older gay men. Once again, Knutsen emphasized that he preferred writing about people who are “a bit off-center” rather than those who are completely average. The best works of fiction, he argued, often deal with situations that are painfully awkward. “It’s when things hurt, or become uncomfortable, that the writing becomes good,” he stressed. Knutsen wrote extensively about pain. He believed that every person carries a kind of emotional baseline from childhood: “My baseline is quite dark, I would say.”

Hugo's Brother

Per Knutsen’s second-to-last novel, Broren til Hugo (Hugo’s Brother, 2016), is perhaps his finest work—a prime example of what made his writing distinctive: his ability to write warmly and beautifully about pain. With a restrained narrative style, he tells an unsentimental story about brothers Erkki and Hugo and a childhood in a kind of northern hell during the 1950s. Hugo must choose to leave his parents in order to be true to himself. His father tries to beat the homosexuality out of him, hoping to “cure” the wrong kind of love through forced sex or a “sensible” wife. Slightly exaggerated, perhaps—but a credible portrayal of real emotions and sexual identity. Knutsen received the Havmann Prize for this novel.

In October 2021, Per Knutsen appeared in conversation at the House of Literature in Bergen and was interviewed in Blikk. He remarked: “My books are often labeled as ‘gay literature’—which is, of course, true—but also a bit irritating, because I write about people.” Knutsen also argued that queer literature carries a different resonance. Exploring what defines queer cultural expression is interesting, he said, because it also reveals what is missing from the dominant culture.

Per Knutsen died of cancer at the age of 71 in Bergen on August 19, 2022.

This article is a shortened version of a lecture on Per Knutsen, presented at a memorial evening at Hamarøy Library on June 8, 2023.