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. In the same meticulous and hypnotic prose for which Fosse is famous, Melancholy II serves not only as an investigation into the “collateral damage” of art, but into a master’s tools and obsessions.

Taking place, like Melancholy, over the course of a single day, we are treated to the thoughts of Hertervig’s sister Oline, carrying on with her life in the absence of her beloved—if eccentric—brother. She recalls their childhood under a domineering father, recalls Hertervig’s difficulties fitting in, and likewise Hertervig the man: poor, always hovering on the brink, fanatical about painting and his own perceived shortcomings both as an artist and human being. In the same meticulous and hypnotic prose for which Fosse is famous, Melancholy II serves not only as an investigation into the “collateral damage” of art, but into a master’s tools and obsessions.