PRECARITY, CLASS, AND DESIRE; OTHER PEOPLE'S SOFAS AND PIOUS LIES.

The conclusion of the Tue Trilogy, the great phenomenon of Danish literature in recent years.

“Thomas Korsgaard’s trademark is writing lightly about the difficult aspects of life.”
Børse

Tue is now seventeen years old and alone in Copenhagen. After being kicked out of the room he lived in, he has nowhere to go. He starts wandering the city streets carrying only the essentials. By day he sells newspapers; by night he sleeps wherever he can. He lives in a constant state of alertness, improvising gestures and lies to go unnoticed.

When a coworker and her mother offer him temporary shelter, Tue discovers a new world. That bourgeois, comfortable, and protected home seems to promise stability, but the spell of class privilege soon breaks, exposing the social and emotional distance between those who have always had a place and those who have learned to survive without one.

In Paradise, the novel that closes the Tue trilogy, Thomas Korsgaard writes with precise and restrained prose about exclusion, shame, and the difficulty of starting over; and paints a fierce portrait of a young man who refuses to be a victim, even if it means crossing certain boundaries.

About the Tue Trilogy it has been said:
“The Tue Trilogy has become a paradigmatic example of the new paths European literature is taking today.”
Zenda

“Korsgaard has created his own world that one enters as if in a state of total intoxication.”
Frank Keil, literaturblatt.ch

“Korsgaard has exceptional storytelling talent, with a sharp sense of humor and a deep understanding of human relationships. Undoubtedly, one of Denmark’s most outstanding literary talents.”
Berlingske

“Can lurid, dirty, and muddy literature from the underworld exist outside the United States? The Dane Thomas Korsgaard shows us that it can.”
Diario del Sur

“His voice combines closeness and distance, as if describing his microcosm he were creating a room of his own where he can breathe.”
Marta Rebón, El Mundo

“Childhood, in Korsgaard’s voice, is not a sacred territory, but a harsh landscape from which one survives if lucky. Or imaginative.”
Victoria Gabaldón, Mamagazine