Novels
- 1919: Barn náttúrunnar (Child of Nature)
- 1924: Undir Helgahnúk (Under the Holy Mountain)
- 1927: Vefarinn mikli frá Kasmír (The Great Weaver from Kashmir)
- 1931: Salka Valka (Part I) – Þú vínviður hreini
- 1932: Salka Valka (Part II) – Fuglinn í fjörunni
- 1934: Sjálfstætt fólk (Part I, Independent People) – Landnámsmaður Íslands (Icelandic Pioneers)
- 1935: Sjálfstætt fólk (Part II) – Erfiðir tímar (Hard Times)
- 1937: Heimsljós (Part I, World Light) – Ljós heimsins (later named Kraftbirtíngarhljómur guðdómsins)
- 1938: Heimsljós (Part II, The Palace of the Summerland) – Höll sumarlandsins
- 1939: Heimsljós (Part III, The Poet's House) – Hús skáldsins
- 1940: Heimsljós (Part IV, The Beauty of the Sky) – Fegurð himinsins
- 1943: Íslandsklukkan (Part I, Iceland's Bell) – Íslandsklukkan
- 1944: Íslandsklukkan (Part II, The Bright Maiden) – Hið ljósa man
- 1946: Íslandsklukkan (Part III, Fire in Copenhagen) – Eldur í Kaupinhafn
- 1948: Atómstöðin (The Atom Station)
- 1952: Gerpla (The Happy Warriors)
- 1957: Brekkukotsannáll (The Fish Can Sing)
- 1960: Paradísarheimt (Paradise Reclaimed)
- 1968: Kristnihald undir Jökli (Under the Glacier / Christianity at the Glacier)
- 1970: Innansveitarkronika (A Parish Chronicle)
- 1972: Guðsgjafaþula (A Narration of God's Gifts)
Read more about this topic: Halldór Laxness, Publications
Famous quotes containing the word novels:
“The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don’t know—Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel—the quality of philosophy.”
—Doris Lessing (b. 1919)
“All middle-class novels are about the trials of three, all upper-class novels about mass fornication, all revolutionary novels about a bad man turned good by a tractor.”
—Christina Stead (1902–1983)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)