Squirreled around the bedside and my library desk, scraps of paper—some crumpled upon subsequent realization of their inaccuracies—are covered with lines and arrows, webs and dates, as I attempted to flowchart the real, temporal lives of the emotionally-related characters in Krauss’ new novel, Great House. Krauss gives her psychological all here, with characters so resonating with loneliness, misery and guilt that reading it almost hurts the reader back. It leaves one with a residual psychical hangover not unlike that groggy confusion after waking from a lossful dream. She leaves it to you—a compelling task, if you are caught up in the aura of the book—to search for clues, to unwind the complexity of the ways these sad lives touch each other: reality is your job, meaning is hers.

After an unseasonably warm and dramatic walk along the Látrabjarg bird cliff (Europe’s westernmost point), David and I stopped at the weird little outpost at Hnjotur, the Egill Ólafsson Museum. Here, a compact museum houses the fruits of Ólafsson’s apparent lifelong obsession with collecting: IBM mainframes, bits of ships, the varied implements involved in the the endless local struggle to procure protein; stark Protestant objects, coffins; bare furniture shiny with hard use; dessicated specimens of fish; geological specimens; pale quilts thin with years; an unsettling number of brutal proto-medical contraptions aimed at keeping farmers alive in this northern, lonely place.