The structure of My Struggle begins to emerge

Karl Ove Knausgaard and his older brother, Yngve, embark on an incredible cleaning frenzy after the discover the horrendous condition in which their father had left the house upon his death - and living amid this squalor is the grandmother, in early or maybe late stages of dementia. The act of cleaning the house obviously has some symbolic or psychological value for KOK and Y, as they are in a sense cleaning their troubled relationship w/ their father and, in another sense, scouring his presence out of the world. Working alongside his brother in this enterprise, KOK begins to reflect on his life-long relationship w/ Yngve, as we fill in yet another "gap" in the story of KOK's "struggle" - he tells of his idolizing the older brother, who was able to escape the worst of the household oppression and move off to college in Bergen, leaving KOK the younger son home to catch the father's unpredictable wrath. When KOK left high school, we now learn, he lived for a year trying to write on a remote island then won a fellowship to a writer's academy in Bergen, where Y was living, and spent a year or two in that endeavor - very unusual for someone to do so before entering college, then/there or now/here - and he felt out, latched onto Y for all of his social life and felt like a fifth wheel. He enters college - we learn v. little about those years - and eventually he and Y set up an arts magazine, and KOK interviews several well known (to Norwegians) Norwegian writers - these are apparently real writers, and KOK even quotes the work of one at length, attributed in the credits. Now nearing the end of this first volume of My Struggle, the shape or pattern or structure emerges: loose and diffuse when seen from close up but forming a well-crafted design when seen from farther back - and perhaps not fully understood until the 6th volume? (very different from Proust in this regard, in that Search for Lost Time adheres to strict chronology); so, through volume 1, we learn in the first half about KOK's adolescence from about ages 8 to 16, then about his life in Stockholm embarking on his 2nd nove, roughly age 30, then about his father's demise, then about his adherence to brother Yngve, particularly in years just after college - the 9 years that he tells us that he lived in Bergen - and still many gaps to fill: his college years, his two marriages, his first publication, relationship with mother. Still astonishing the degree of detail that he can summon, and the depth to which he can plumb in examining his emotions and feelings and terrors - and the amount of drama KOK can create without actually any highly dramatic let alone melodramatic scenes. If one of the great pleasures of fiction is to give us the access to the consciousness of another, has anyone in recent years done so more powerfully that Knausgaard?