The narrator (ostensibly Strindberg, although his narrative variably coheres with and diverges from historical truth) spends most of the novel in
Paris, isolated from his wife (
Frida Uhl), children, and friends. He associates with a circle of Parisian artists and writers (including
Paul Gauguin and
Edvard Munch), but often fears they are ridiculing and persecuting him. In his isolation, Strindberg successfully attempts alchemical experiments that apparently violate the
laws of chemistry, and has his work published in prominent journals. He fears, however, that his secrets will be stolen, and his persecution mania worsens, believing that his enemies are attacking him with 'infernal machines.' He also dabbles in the
occult, at one point casting a
black magic spell on his own distanced daughter. Throughout his studies and adventures, Strindberg believes himself guided by mysterious forces (attributing them sometimes to
God,
Fate, or vaguer origins). When returning to
Austria to see his daughter, who lives with his
in-laws, Strindberg is introduced to German mythology and the teachings of
Swedenborg. Strindberg's grandmother-in-law shows great disdain towards him and forces him to move back-and-forth between the towns of
Saxen (where his daughter lives) and
Klam. While staying there, Strindberg once again has paranoid ideas regarding how various world events prove that he is both
cursed and possesses
magical powers to curse others himself. Strindberg moves to
Lund in Sweden, where he reads the original works by Swedenborg (including the
Arcana Cœlestia) as well as the works of
Sar Peladan. Strindberg combines the teachings of
Swedenborgianism with
Catholicism,
Lutheranism and various world
mythologies, and states that Swedenborg's works have
predicted various events from his life. Through this newfound imagery, Strindberg sees his life as a living hell, hence the novel's title. He also mentions that he sought "refugee" in a Belgian
convent, and expects to receive an answer from them shortly after this book is finished. {{Quote Have I not, then, rightly named my book Inferno? If any reader holds it for mere invention, he is invited to inspect my journal, which I have kept daily since 1895, of which this book is only an elaborated and expanded extract. A translation to English by Claud Field (1863–1941) was published by G. P. Putnam's Sons in 1912. ==Organization==