The Hamsun-text proves particularly difficult to historicize, partially because the author himself never 'belonged' to any single place, but also because aspects of his works, often in translation, have been read in such divergent ways in different times and places, as might be indicated by simply listing the incongruous mix of twentieth-century notabilities who admired his work, or aspects thereof - including literary modernists of such diverse kinds as Franz Kafka, Thomas Mann, Katherine Mansfield and Rebecca West, or such different Marxist writers as Walter Benjamin, Bertolt Brecht and Maxim Gorky, or different theorists and philosophers as Roman Jakobson and Martin Heidegger, or again different Nazi ideologues, such as Alfred Rosenberg and Joseph Goebbels, or yet again author such as Henry Miller, Ernest Hemingway and Paul Auster. This indicates, above all else, the sheer variety and startling differences within and between the many cultural, literary and political currents with which aspects Hamsun's works have found and continue to find, their polyphonic resonances. The heterogeneous migration of the oeuvre entails, therefore, two separate yet often converging sets of movement: the internal Movements of the oeuvre as an agglomeration of turns, transformations and repetitions and, thereupon, the scattering of that oeuvre in multiple fragments, through re-editions, revised editions, translations and re-translations.