John de Falbe of The Spectator wrote that "Enquist has imagined this appalling drama with immense sensitivity and intelligence." De Falbe continued: "Enquist writes in short, jerky sentences which often seem to repeat themselves. Although disconcerting at first, the technique works brilliantly. The atmosphere is suitably nervy, while the shifting ground beneath the apparent repetitions is vibrant with stealth and subterfuge. ... The swirling currents - emotional, political, social, spiritual - are so vivid that we cannot doubt the relevance of this historical tale."[3]Bruce Bawer reviewed the book for The New York Times, and wrote that "Enquist's principal characters are realized with a vividness and subtlety that place the book in the front ranks of contemporary literary fiction", and called the prose "brisk, lucid, vigorous, penetrating, rich in arresting epigrams and marked by calculated repetitions that give the novel a touch of hypnotic power."[4]
^Gianna Chiesa Isnardi -Storia e cultura della Scandinavia: Uomini e mondi del Nord
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2015 il quale ha altresì rielaborato il proprio racconto nel libretto per l'omonima opera (Livlægens Besøg, 2008) la cui musica si deve al compositore danese Bo Holten