Independent People

Halldor K Laxness

72 pages 2-hour read

Halldor K Laxness

Independent People

Fiction | Novel | Adult | Published in 1934

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Part 1, Chapters 1-13Chapter Summaries & Analyses

Content Warning: This section of the guide features discussion of child death, animal cruelty and death, illness or death, bullying, physical abuse, emotional abuse, mental illness, and disordered eating.

Chapter 1 Summary: “Kolumkilli”

Icelandic chronicles recount that men led by the Irish sorcerer Kolumkilli settled in Iceland in early times. When Norse settlers arrived, the Western sorcerers fled, and Kolumkilli cursed the invaders. Later, a church was built to appease Kolumkilli in the valley where the farmstead Albogastathir stood. Spectral visitations have been reported there.


A legend tells of a couple who farmed Albogastathir in the early 1600s. The wife, Gunnvör, a woman skilled in the occult, dominated her weak husband, forcing him to expose their newborn children because of poverty. As she aged, Gunnvör drank the blood of her surviving children and worshipped Kolumkilli. When her husband resisted, she killed and sacrificed him, claiming he died in the valley. She murdered travelers for their blood and possessions.


Gunnvör was eventually tried and executed at Rauthsmyri Church on Trinity Sunday. Her remains were buried in a cairn, known as Gunnucairn. After death, her ghost haunted AlbogÁstathir, disturbing people and spoiling land and property. A priest drove her spirit into the mountain where it is believed to still dwell. The farmstead was destroyed repeatedly and eventually annexed to the large farm of Rauthsmyri as winter sheep fold called “Winterhouses.”

Chapter 2 Summary: “The Holding”

A century and a half after its last destruction, the ruins of Winterhouses stand in a remote valley enclosed by ridges and moorlands. On a spring day, the valley can be beautiful, enabling men to forget its grim history and “tempt fortune” by trying to settle there.


A man, the newest landowner of Winterhouses, defiantly refuses to place a stone on Gunnvör’s cairn, cursing her instead. He surveys his valley and tests the spring swamp grass, reflecting on how it sustains sheep which in turn sustain man. He watches his dog, Titla, savoring “the submissiveness of the dog” (11). On the knoll, he urinates to stake his claim, then chases off sheep belonging to his former master, the Bailiff of Rauthsmyri, from whom he has bought the land.


The man, Bjartur, decides to rename the place “Summerhouses” to reflect his own name which means “bright.” He inspects the ruins and imagines his new croft. He tells Titla that freedom matters more than comfort, having cost him 18 years of “slavery” to the bailiff. He paid his first installment on Easter morning and owns 25 ewes. He and Titla drink from the brook, which he declares excellent. Then he feels doubt which he suppresses by challenging Gunnvör and all specters, declaring himself unafraid. He laughs scornfully at tales of Kolumkilli, dismissing them as “old wives’ tales” (15).

Chapter 3 Summary: “The Wedding”

By late spring, Bjartur has built a new turf croft-house at Summerhouses. He is married to Rosa, the daughter of a poor man, Thorthur of Nithurkot. Rosa was also a servant at Rauthsmyri. The wedding guests are mostly poor sheep-men, tough and independent crofters. In the Icelandic tradition, they know and can compose oral verse, as can Bjartur. The bailiff’s wife has lent a tent for the festivities. A rich, educated woman, she writes pastoral poetry while being removed from the realities of the land and is known sardonically as “the poetess” and “the Mistress of Myri.” (22) She named her son Ingolfur Arnarson Jonsson after Iceland’s first Norse colonist.


At the wedding, the men discuss sheep ailments and the women discuss scandal and family illnesses. The bailiff’s wife asks Bjartur and Einar of Undirhlith to recite poetry and they decline because they do not approve of her approach to poetry.  


Reverend Gudmundur arrives. Rosa is 26, chubby-faced, reserved, with a slight cast in one eye. After a brief ceremony, the bailiff’s wife delivers a lengthy speech praising farmers as helpers of God and exhorting Rosa to create a home radiating earthly bliss. After her speech, the conversation returns to sheep diseases and the Fell King’s inadequate dog-doctoring.

Chapter 4 Summary: “Drifting Clouds”

The day after the wedding, Bjartur and Rosa travel to Summerhouses. With Bjartur carrying her belongings and leading her on a young foal while Titla makes the foal shy, it is a difficult journey. At Gunnvör’s cairn, Rosa asks to place a stone for luck, but Bjartur refuses, calling it superstition.


Rosa becomes sullen and unresponsive and asks to be let down, saying she is going “home.” Bjartur ignores her, and she begins to weep. Crossing the marshes, Blesi sinks in a bog, throwing Rosa into water and mud. Bjartur helps her up, saying that “women are more to be pitied than ordinary mortals” (30).


Inside the new croft—a small combined house and stable—Rosa comments that the window is small, unlike the big windows at Rauthsmyri. Bjartur is annoyed and asks if she will miss anything else from there. He lectures her on the importance of independence. Rosa says she has had bad dreams and that everyone claims the place is haunted by Gunnvör. Bjartur dismisses her fears and expresses skepticism about religion, saying his only faith is in Reverend Gudmundur’s good breed of sheep. He then accuses her of involvement with a man who hung around the women at Rauthsmyri that spring.

Chapter 5 Summary: “Secrets”

Rosa denies this but argues that Bjartur “is no angel” (34). He names several potential lovers, including a teacher who recently fathered a child outside marriage. In anger, Rosa cries that she regrets not having had them all instead of marrying a man who values sheep over people. Bjartur insists her lover was a man recently returned from the Agricultural College to the Myri household; they both know this is the bailiff’s son, Ingolfur Arnarson Jonsson. He rages that he labored for that family for 18 years and accuses her of expecting him to raise Ingolfur’s “bastard.” In fury, he leaps from bed and drags the clothes off her.


Terrified, Rosa clings to him, swearing that no man has ever known her. She pleads for mercy, invoking the curse of Kolumkilli and the ghosts of the croft. He takes pity on her and desists. Instead, he takes snuff, lies down, and goes to sleep: “Of such a kind was their married life” (36).

Chapter 6 Summary: “Dreams”

Bjartur rises early in the mornings to mow, letting Rosa sleep, finding her beautiful and innocent when she sleeps but considering her “betrayal” with other men. He makes some kind advances, like writing her poems and buying her a dress, but she is uninterested. Rosa becomes listless at her work and unwell, showing signs of morning sickness. She develops intense cravings for meat and milk, neither of which are available in summer on the farm. Bjartur dismisses these. Rosa asks if they can buy a cow for milk. Bjartur angrily refuses, saying they are a sheep farm. He calls Rosa’s requests “vanity” and “nonsense”, attributing them to “nerves,” like his mother suffered.


When Rosa asks what will happen if she has a baby, Bjartur says his child will live on its mother’s milk and boiled fish, just as he did. He softens slightly, promising to start a vegetable garden in a year or two, and claps her on the shoulder like a horse.

Chapter 7 Summary: “Nerves”

Rosa’s condition worsens and Bjartur thinks that she has become a “middle-aged slattern” instead of the fresh young woman he married (41). She avoids his attentions at night and he feels thwarted.


One morning, Bjartur wakes to find both Rosa and Titla gone. Titla appears and leads him across the marshes to Gunnvör’s cairn, where he finds Rosa asleep. Rosa had been trying to walk to Rauthsmyri to trade wool from her own sheep, Kolla (her sole personal property), for a bottle of milk. She had placed a stone on Gunnvör’s cairn, then collapsed from exhaustion. On the way back, she becomes violently ill and vomits. Rain begins, and Bjartur carries her home. He promises they will separate several ewes from their lambs next summer to milk them.


One day while raking, Rosa sees a large eel in a stream. She kills it and, despite Bjartur’s disgust at the “water-worm,” she cooks and eats the entire eel.

Chapter 8 Summary: “Dry Weather”

Late in the summer, a third of their harvested hay blows away. With rain threatening, Bjartur and Rosa work day and night to bring in the rest. Rosa is utterly exhausted, stumbling on foot and dozing off while riding, falling repeatedly, and suffering from nausea and vomiting. One dawn, she collapses by the brook. She feels as if she is peacefully dying, enveloped by the earth and the sound of the water.

Chapter 9 Summary: “A Day in the Woods”

Later that morning, a Sunday, Bjartur finds Rosa asleep and rain-soaked by the brook, with hay lost to the stream and the packsaddle broken. He wakes her angrily and she drags herself inside to sleep. A group of well-to-do young people on horseback arrives for a Sunday outing, including Ingolfur Arnarson Jonsson, who goes to shoot birds and fish while the girls go berry-picking.


Ashamed of her appearance, Rosa hides. Bjartur finds her and angrily drags her up to greet the guests. The girls are kind to Rosa, asking her about life on the moors. While the others are away, Rosa sits by the window, starting violently with each gunshot from the marshes.


The group returns in the evening and plays games in the home-field, coaxing Bjartur into joining them and reciting bawdy verses. Ingolfur returns with his catch and patronizingly asks Bjartur what he owes in sports rent. Bjartur proudly refuses the offered birds and fish, disparaging the food at Myri. The girls urge him not to refuse the catch for Rosa’s sake, but he persists. The young people, members of the Young Icelanders’ Association, are moved by Bjartur’s spirit of independence. They sing patriotic songs, hailing him as a “pioneer,” then leave.


Bjartur tells Rosa there is a present for her by the brook from Ingolfur. She finds the ducks and fish Ingolfur has killed. She stands in the dusk, thinking of him and the “harmless birds he had killed” (54).

Chapter 10 Summary: “Shepherds’ Meet”

Bjartur prepares to leave home to round up the sheep for winter, an absence of a few days. Rosa is afraid to be left alone but he refuses to let her go to Rauthsmyri. Instead, he catches a yearling ewe named Gullbra and tethers it in the home-field for her company. Gulbra bleats constantly.


The other shepherds, including the Fell King (the parish clerk), arrive before dawn. Rosa has an emotional reunion with her father, Thorthur, who brings her coffee and sugar. Bjartur feels jealous. The men drink coffee and discuss the weather and harvest, lamenting the hardships of life. Bjartur and Einar debate the merits of classical rhymes versus modern lyrics. The Fell King praises Bjartur and Rosa for embodying Icelandic independence.


Thorthur, old and frail, prepares to leave. Rosa sees her father off, feeling sad, and gives his dog, Samur, a scrap of fish. Bjartur kisses Rosa hastily, gives her instructions, and rides off.

Chapter 11 Summary: “September Night”

That night, a heavy rainstorm isolates Rosa in the croft. She brings the ewe, Gullbra, into the stalls for shelter, but the animal dislikes being indoors and bleats incessantly. As night falls, the storm worsens, and Rosa becomes terrified of the darkness.


The sheep’s bleating becomes panicked, and Rosa hears sounds of a struggle. She becomes convinced that a supernatural evil—a ghost or fiend—is in the stalls attacking the sheep. The animal’s cries continue through the night. She hides in her bed, overwhelmed with terror, and experiences feverish, nightmarish visions. At dawn, her terror turns to rage against the animal. She takes Bjartur’s scythe-blade, chases the sheep outside and slaughters it violently. After this, she falls into exhausted sleep.


When she wakes, she remembers what she did and is surprised at herself. She realizes the slaughtered sheep means she has fresh meat and, filled with blissful hunger, she butchers the animal, cooks the offal, hides the traces of slaughter, and salts the meat. She eats a huge, satisfying meal of offal, experiencing “the first happy day” of her married life, and falls into a long sleep (75).

Chapter 12 Summary: “Medical Opinion”

Bjartur returns late on the fourth day with his sheep from the roundup. The next morning, he leaves with other crofters to drive 20 lambs to town. He makes several trips to and from town to trade and bring his purchases back, arriving home exhausted each night. He finds Rosa looking fresh and healthy. He assumes she freed the ewe.


Bjartur gives Rosa a vial of pills for her nerves that he obtained from Dr. Finsen, the local member of the Althing (Parliament). He recounts his conversation with the doctor, who refused payment for the pills, asking Bjartur to “remember him” at the next election.

Chapter 13 Summary: “The Poetess”

That autumn, Summerhouses hosts many visitors traveling to town, including drunken farmers who wake the couple at night. Some farmers’ wives also detour to visit Rosa, including the bailiff’s wife. She praises Rosa’s coffee, the charm of settling new land, and the virtue of private enterprise. She contrasts the virtue of farm life with the corruption of the towns. Rosa agrees, stating that freedom comes before everything.


The bailiff’s wife extols the happiness of life in a small house, complaining of the burdens of her own large household with 23 rooms and over 20 people. She asks Rosa when she is expecting her child. Rosa reacts with sudden, wild hostility, jumping to her feet and glaring at the visitor as if to ward her off. The bailiff’s wife is visibly disturbed and changes the subject, remarking that poor people are always happier than rich people. She tells Rosa how she and Bailiff Jon took efforts to help Bjartur buy the land and marry Rosa. When Rosa shows no gratitude or interest in this story, the woman leaves.

Part 1, Chapters 1-13 Analysis

The opening chapter places Bjartur’s private struggle within in a legendary conflict that defines the valley itself, rooting the novel into the sense of history and fatefulness that is promised by its scope as “An Epic.” This opening adopts the formal, archaic tone of an Icelandic chronicle to recount the history of Kolumkilli’s curse and the saga of the witch Gunnvör, locating the story in a mythic, quasi-historical context where the valley is an archetypal battleground for human ambition against hostile supernatural forces. In this way, the novel is presented as the part of the established tradition of semi-realist literature in Iceland. When the narrator introduces Bjartur as a figure inheriting a long pioneer tradition, he is positioned as the inheritor of this historical, Icelandic struggle for identity and survival and his defiant refusal to place a stone on Gunnvör’s cairn is a conscious challenge to the valley’s historical and supernatural legacy. Rosa’s subsequent terror and her plea that Bjartur will “give Kolumkilli [her] bones” reinforce this dynamic, establishing the ancient curse as an active psychological force on their lives (35). Her prediction of her own death prefigures her real death in the next section, indirectly at Bjartur’s hands, as a result of his disregard for her safety as a pregnant woman and his stubborn adherence to his own code of independence at all costs. This passage establishes Bjartur’s sense of exceptionalism and absolute stubbornness, characteristics which are developed as the novel follows its tragic arc.


In this first section, Bjartur’s individualism is shown to be defined by a strict and uncompromising interpretation of independence. For him, freedom is a modest economic formula: ownership of land and sheep, unencumbered by debt. He declares, “The man who lives on his own land is an independent man. He is his own master” (13). This philosophy, developed over 18 years of servitude, becomes a dogma that governs his actions, often to his detriment, and that of those dependent on him. His refusal to acquire a cow for his pregnant, ailing wife reveals the costs of this principle. His rigid ideology isolates him, making him unable to respond to the human need of those he is responsible for. His proud and reserved interactions with others, from Dr. Finsen to the bailiff’s son, are filtered through this lens of obligation and debt, which precludes connection or compromise and demonstrates The Self-Defeating Nature of Absolute Independence.


Consistently, Bjartur is shown putting his own pride before the needs of his wife, dismissing these needs in order to justify his choice. Rosa’s psychological and physical decline therefore illustrate the cost of his ideology. Her deterioration is charted through her “nerves”—a diagnosis Bjartur uses to dismiss her longing for meat and milk, signs of her real malnourishment during pregnancy. In a world governed by Bjartur’s abstract—and paternalistic—principles, the valid needs of Rosa’s female body are declared aberrations: While Bjartur occasionally concedes that women are “to be pitied more than normal mortals” —i.e., than the default male—he makes no practical concessions to these differences. In this context, Rosa’s frenzied slaughter of the ewe Gullbra is a transgressive act of self-preservation, a semi-conscious seizure of agency which surprises her when she “wakes” afterwards. This fulfillment of physical need directly violates Bjartur’s economic doctrine and links her to Gunnvör, the valley’s earlier desperate and semi-supernatural woman. The novel’s exploration of Rosa’s experience enables an alternative reading of the legendary “witch” Gunnvör as a woman driven to extremes and the subject of hyperbolic—and potentially paternalistic—mythologizing.


The narrative’s epic scope extends its critique beyond the individual to the social structure of rural Iceland, using the character of the bailiff’s wife to satirize the hypocrisy of the privileged class. The lengthy speech she delivers at the wedding employs dramatic irony, as she extols the spiritual purity of the poor crofter’s life from a position of privilege, while her audience’s primary concerns are lungworm, tapeworm, and parish debt. Her romanticized vision of the peasant is divorced from the reality of the crofters’ struggle for subsistence. She declares that “poor people are happy practically without exception,” a hypocrisy that justifies the economic hardship from which she benefits (19). This contrast between her elevated rhetoric and the crofters’ practical concerns exposes a chasm between classes and critiques how idealistic narratives are constructed by the powerful to obscure the suffering of the powerless.


Throughout these opening chapters, the theme of Poetry as a Tool for Survival, Escapism, and Meaning is developed through Bjartur’s relationship with poetry. His devotion to old heroic rhymes, with their complex meters and tales of unconquerable heroes, supplies the framework for his identity. He scorns modern sentimentality in favor of a traditional heroic spirit that celebrates self-reliance. By casting himself as a modern-day saga hero battling the specters of his land, Bjartur transforms his “war of independence” into an epic struggle. This artistic lens ennobles his hardship and validates his uncompromising stance, providing a psychological defense against the difficulties of his reality. However, this same heroic narrative also reinforces his rigidity and emotional blindness, demonstrating that while poetry can be a tool for survival, it can also become a barrier to empathy and practical wisdom.

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