Part of our Lagerlöf in English series and translated by Linda Schenck, Banished examines what happens to an individual rejected by society, and what happens to a society that realises – too late – that the living are more important than the dead, and that it is suffering a crisis of values and priorities. What does war do to us and to our outlook on the world?
Lagerlöf struggled with these issues throughout World War I and experienced a mental block in writing about them. Then she found an opening and produced a thought-provoking tale of love, death and survival that grapples with moral dilemmas as relevant today as they were a century ago.
An extract of Banished is available to read here, which covers some unexpected guests – thought-provoking preparatory reading if you are Zooming in to the Anglo-Swedish Society’s salon next week, and eerily resonant of these times of post-travel quarantine.
If this has made you curious to add the complete book to your summer reading tower, you can buy it here.
Anna Svärd is Lagerlöf’s last work of fiction and the final volume in her Löwensköld Trilogy. First published in Swedish in 1928 and translated for Norvik Press by Linda Schenck, it completes the family cycle of the preceding two volumes, The Löwensköld Ring and Charlotte Löwensköld, and combines a compelling account of women’s struggle towards agency with a chilling – and unexpected – denouement.
They laughed loud and long, each one louder than the next, though at the same time they were embarrassed. It was, of course, not proper to laugh when the head of the family and household had been duped. They were decent, well-bred women and they definitely disapproved of themselves. But their laughter quite simply came from natural human depths, and could not be restrained without risk of suffocation.
We have made an extract from Anna Svärd newly available here. This scene is a joy for all: it recounts a practical joke which is particularly fitting for #WITMonth, and may raise a smile in these challenging times. It will also be particularly useful pre-reading for those planning to join the Anglo-Swedish Society’s readings of Lagerlöf’s work later this summer, for which you can order copies of all the texts in our Lagerlöf in English series from your friendly local bookshop.
This week we’re highlighting two translations from our ‘Lagerlöf in English‘ series: Nils Holgersson’s Wonderful Journey through Sweden (1906-07), available here; and The Phantom Carriage (1912), available here, both translated by Peter Graves.
This blogpost is adapted from a longer essay by one of our directors, Claire Thomson. If you read Swedish, you can download it for free here.
As we begin to understand Covid-19, this dreadful new disease afflicting humankind, there is some comfort to be found in the thought that within the last century, great leaps were made in the treatment and control of another scourge: tuberculosis. In Sweden alone, half a million people died of tuberculosis between 1900 and 1950. In 1904, the Swedish National Association Against Tuberculosis (Nationalföreningen mot Tuberkulos) was established to coordinate public health education about the disease. One of the association’s founders, alongside Crown Prince Gustav, was the author Selma Lagerlöf.
In its first few decades, a key activity for the Association was to organise peripatetic lectures and film and slide shows educating Swedes about hygiene and other preventative measures against tuberculosis. Money was raised for research and education through the sale of stamps and the majblomma flower pin. But a subtler means of raising awareness was Lagerlöf’s writing; she was encouraged by the Association to write the novella The Phantom Carriage (Körkarlen, 1912), a ghost story which lays bare the sickness, poverty and misery engendered by tuberculosis. The novella was adapted for the silver screen in 1920-21 by the great Swedish director and actor Victor Sjöström. A blockbuster of its day, it was one of the first films to use double exposure, and inspired the young Ingmar Bergman to take up filmmaking.
Feature films and literature can, of course, indirectly promote public health messages. But in the days before television and social media, purpose-made short films were widely used in public information campaigns. In 1952, twelve years after her death, Lagerlöf’s writing again played a role in educating the Swedish populace about the fight against tuberculosis. By this time, half a century of research had resulted in effective prevention and treatment, and Sweden had been one of the countries to pioneer a nation-wide screening and vaccination programme in the 1940s (including the use of miniature x-ray machines in buses). The dramatist Martin Söderhjelm was commissioned by the National Association Against Tuberculosis to make a short film reminding Swedes of the work of the Association, encouraging them to participate in medical screening programmes, and looking to the future. The sixteen-minute film, shown in cinemas around the country in autumn 1952, was Medan det ännu är tid: ‘While there’s still time’.
In order to engage its audience, Medan det ännu är tid opens with a tale that every Swedish cinema-goer would remember from their school days: an episode from Lagerlöf’s Nils Holgersson. Chapter XLIV of the epic novel fills in the back-story of two recurring characters, Åsa the goose-girl and her little brother Mats, and the film devotes its first five minutes to the sad fate of these fictional children. Åsa and Mats are from a poor Småland family. Their siblings and mother are infected by a traveller and die one by one, and their father flees. The orphaned Åsa and Mats attend a lecture explaining the symptoms, prevention and treatment of tuberculosis, and they realize that their family died of the disease, not of the sick traveller’s curse. Åsa and Mats embark on their own journey through Sweden to find their father, navigating forests, towns and frozen lakes (see below), and along the way they tell the people they encounter about the need for good hygiene in combating the spread of tuberculosis. The film thus stages the historical phenomenon of travelling public health lecturers, an authentic detail already embedded in the novel by an author who was herself a founding member of the National Association Against Tuberculosis. But in typical Lagerlöf style, public health education is also framed in Nils Holgersson as a kind of mythical or folktale-style wandering across the national map, undertaken by the good citizens Åsa and Mats.
Both in Lagerlöf’s novel and Söderhjelm’s film, the fight against tuberculosis thus emerges as a collective undertaking for Swedish society, a battle that is fought not only by scientists and medics, but by ordinary people doing simple, everyday things – like washing their hands.
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For Peter Graves’ translation of Nils Holgersson’s Wonderful Journey through Sweden, Norvik Press commissioned original illustrations from the illustrator Bea Bonafini. Bea comments here on her illustration for chapter XXV, which depicts a dramatic episode in Åsa and Mats’ trek through Sweden:
Possibly my favourite image, I chose this tragic moment for its visual power, as well as for how poignantly Lagerlöf depicts the race for survival of the brother and sister. I imagined the aerial view of the running children, seen from the perspective of the gander and the boy as they direct the children out of the maze of cracking ice. The image evokes the precarious balance between life and death as the children try to avoid running into dead ends while making their way across. It is the first inverted image I use, where the picture of the iced lake fills a negative space, causing an initial sense of disorientation appropriate to the nature of the image.
There are times over the past twelve weeks or so when our semi-isolated living situation has made us feel we’ve been transported back to an earlier age. Living in a rural area in particular, and seeing the busy – if socially distanced – local community interactions and the empty roads, you can almost feel as if you’re a resident of Mrs Gaskell’s Cranford. Or indeed of Selma Lagerlöf’s Mårbacka, where families struggle, to be sure, and life can be physically and mentally tough, but the pace of things is largely determined by the slowly changing seasons and the length of time it takes to get anywhere on foot, or in a horse and gig along the winding, hilly roads round the lakes of Värmland province.
In the lockdown months we’ve all come to appreciate the value of a full larder, and in that we have much in common with the housekeeper at Mårbacka farm, who prides herself on a full storehouse to keep the large household going. Read our evocative extract here.
Explore the world of Selma Lagerlöf not only in Mårbacka but through our whole series ‘Lagerlöf in English’, translated by Peter Graves, Linda Schenck and Sarah Death. This great Swedish storyteller brings you tales of everything from love in sickness and in health, via romance and betrayal, hauntings and untimely deaths, salty sea air and valiant derring-do, to family life with its fractious and funny moments and its small delights.
Women in Translation Month is almost over, but we couldn’t let it pass without celebrating the woman whose shadow looms large over our catalogue, and the women and men who have translated her work: Selma Lagerlöf.
For a limited time only, we’re offering ten Lagerlöf masterpieces for £100. Read on for more details…
To date, Norvik Press has published ten of Lagerlöf’s works in English translation [click here to download the series leaflet]:
A Manor House Tale: a psychological novella and a folk tale in which two young and damaged people redeem each other.
Banished: infused with the visceral horrors of the First World War, Banished is a tale of love, loneliness, and the extremes of human morality. Read an extract here.
The Phantom Carriage: an atmospheric ghost story and a cautionary tale of the effects of tuberculosis and alcoholism, famously adapted to film by the great Swedish director Victor Sjöström.
Lord Arne’s Silver: from a 16th-century killing unfolds a tale of retribution, love and betrayal.
Mårbacka: part memoir, part mischievous satire set on Lagerlöf’s childhood estate. Read an extract from Mårbacka in English here.
The Löwensköld Trilogy: Lagerlöf’s last work of fiction, the trilogy follows several generations of a cursed family and explores destiny, evil, motherhood, and many other themes along the way. The trilogy consists of three volumes: The Löwensköld Ring, Charlotte Löwensköld, and Anna Svärd.
Purchased individually, all eleven paperbacks (including the two paperback volumes of Nils Holgersson) cost a total of £135 (plus P&P). Until 14 September 2018, we are offering a limited number of complete sets of eleven paperbacks at the discounted price of £100 (plus P&P). This special price is only available on orders placed directly with Norvik Press, not through book stores or online. Please email email@example.com to place your order. First come, first served – available only while stocks last!
In August we celebrate Women in Translation Month. In addition to publishing many female authors over half of Norvik publications are translated by women. Some recently published examples of both excellent writing and translation by women include Suzanne Brøgger’s essay collection A Fighting Pig’s Too Tough to Eattranslated by Marina Allemano, Selma Lagerlöf’s Banished translated by Linda Schenck and Vigdis Hjorth’s A House in Norwaytranslated by Charlotte Barslund.
To celebrate the work of women in translation Norvik is offering blog readers a 10% discount on works by female authors published by Norvik on orders submitted by the end of August 2018. Browse our catalogue here and email your order directly to firstname.lastname@example.org, quoting the discount code WOMEN IN TRANSLATION. Please note that this offer only applies to orders emailed directly to Norvik, and cannot be used for purchases in bookshops or online.
In June 2011, Norvik Press published Lord Arne’s Silver, The Phantom Carriage and The Löwensköld Ring, three short novels by the world-renowned author Selma Lagerlöf. It was the start of an exciting and, for us, very gratifying project – the Lagerlöf in English Series – which has turned into twelve books so far. The translations are done by Linda Schenck, Peter Graves and Sarah Death, all experienced and prize-winning translators from Swedish to English. In addition to the substantial job of translating a Nobel Prize winner, Schenck, Graves and Death have also contributed with their own translators’ afterwords in their respective translations. These chapters make for an intriguing read about different aspects of translating each particular book and give in-depth information about Lagerlöf’s work. Furthermore, each book is introduced by an exciting and informative preface written by the late Helena Forsås-Scott, the pioneering mind behind the series.
You can download a brochure and find more information about the series on our website.
What happens to an individual who is rejected by society? What happens to a society that eventually realises the living are more important than the dead, and that it is suffering a crisis of values and priorities? What does war do to us and to our outlook on the world? Selma Lagerlöf struggled with these issues throughout World War I and experienced a mental block in writing about them. Then she found an opening and produced a thought-provoking tale of love, death and survival that grapples with moral dilemmas as relevant today as they were a century ago.
The Emperor of Portugallia
For poverty-stricken farm labourer Jan, the birth of his daughter Klara gives life a new meaning; his devotion to her develops into an obsession that excludes all else. We are taken from the miracle of a new-born child and a father’s love for his baby girl into a fantasy world emerging as a result of extreme external pressures, in which Jan creates for himself the role of Emperor of Portugallia. Yet this seemingly mad world generates surprising insights and support. Described as ‘perhaps the most private of Selma Lagerlöf’s books’, the novel takes us deep into a father-daughter relationship that carries the seeds of tragedy within it almost from the start.
The property of Mårbacka in Värmland was where Selma Lagerlöf grew up, immersed in a tradition of storytelling. Financial difficulties led to the loss of the house, but Lagerlöf was later able to buy it back, rebuild it and make it the centre of her world. The book Mårbacka, the first part of a trilogy written in 1922–32, can be read as many different things: memoir, fictionalised autobiography, even part of Lagerlöf’s myth-making about her own successful career as an author. It is part social and family history, part mischievous satire in the guise of innocent, first-person child narration, part declaration of filial love.
The Löwensköld Ring
The Löwensköld Ring is the first volume of a trilogy originally published between 1925 and 1928. In addition to being a disturbing saga of revenge from beyond the grave, it is a tale of courageous, persistent women, with interesting narrative twists and a permeating sense of ambiguity. The potent ring of the title brings suffering and violent death in its wake and its spell continues from one generation to the next, as well as into the two subsequent novels in the trilogy. The Löwensköld trilogy was Lagerlöf’s last work of pure fiction, and is now considered a masterpiece.
A curse rests on the Löwensköld family, as narrated in The Löwensköld Ring. Charlotte Löwensköld is the tale of the following generations, a story of psychological insight and social commentary, and of the complexities of a mother-son relationship. Charlotte is in love with Karl-Arthur – both have some Löwensköld blood. Their young love is ill-fated; each goes on to marry another. How we make our life ‘choices’ and what evil forces can be at play around us is beautifully and ironically depicted by Selma Lagerlöf, who was in her sixties when she wrote this tour de force with the lightest imaginable touch.
The curse on the Löwensköld family comes to fruition in unexpected ways in this final volume of the Löwensköld cycle. Anna Svärd is also very much a novel of women’s struggle toward finding fulfilment. The Löwensköld Ring resonates with ‘beggars cannot be choosers’ in relation to what a poor woman can expect in life, while Charlotte Löwensköld moves toward women having some choices. In Anna Svärd the eponymous protagonist takes full and impressive control of her own life and destiny. The question of motherhood and the fates of the children with whom the characters engage is another theme. The reader goes on to follow Charlotte, Karl-Artur, Thea and their families, familiar from the previous volume, through this compact novel as it moves relentlessly toward a chilling dénouement.
A Manor House Tale
Written in 1899, Selma Lagerlöf’s novella A Manor House Tale is at one and the same time a complex psychological novel and a folk tale, a love story and a Gothic melodrama. It crosses genre boundaries and locates itself in a borderland between reality and fantasy, madness and sanity, darkness and light, possession and loss, life and death. Lagerlöf’s two young characters, Gunnar and Ingrid, the one driven to madness by the horrific death of his goats in a blizzard, the other falling into a death-like trance as a result of the absence of familial warmth, rescue each other from their psychological underworlds and return to an everyday world that is now enhanced by the victory of goodness and love.
Nils Holgersson’s Wonderful Journey through Sweden: The Complete Volume
Starting life as a commissioned school reader designed to present the geography of Sweden to nine-year-olds, this absorbing tale quickly won the international fame and popularity it still enjoys over a century later. The story of the naughty boy who climbs on the gander’s back and is then carried the length of the country, learning both geography and good behaviour as he goes, has captivated adults and children alike, as well as inspiring film-makers and illustrators. The elegance of the present translation – the first full translation into English – is beautifully complemented by the illustrations specially created for the volume.
The Phantom Carriage
Written in 1912, Selma Lagerlöf’s The Phantom Carriage is a powerful combination of ghost story and social realism, partly played out among the slums and partly in the transitional sphere between life and death. The vengeful and alcoholic David Holm is led to atonement and salvation by the love of a dying Salvation Army slum sister under the guidance of the driver of the death-cart that gathers in the souls of the dying poor. Inspired by Charles Dickens’ A Christmas Carol, The Phantom Carriage remained one of Lagerlöf’s own favourites, and Victor Sjöström’s 1920 film version of the story is one of the greatest achievements of the Swedish silent cinema.
Lord Arne’s Silver
An economical and haunting tale, published in book form in 1904 and set in the sixteenth century on the snowbound west coast of Sweden, Lord Arne’s Silver is a classic from the pen of an author consummately skilled in the deployment of narrative power and ambivalence. A story of robbery and murder, retribution, love and betrayal plays out against the backdrop of the stalwart fishing community of the archipelago. Young Elsalill, sole survivor of the mass killing in the home of rich cleric Lord Arne, becomes a pawn in dangerous games both earthly and supernatural. As the deep-frozen sea stops the murderers escaping, sacrifice and atonement are the price that has to be paid.
Bannlyst is one of Selma Lagerlöf’s most thought-provoking works, and the latest addition to our Lagerlöf in English series, translated by Linda Schenk as Banished.
Lagerlöf was a hugely popular writer in her time, but the publication of Bannlyst in 1918 cost her a great deal of anxiety for two reasons. First of all, she had been suffering from a writer’s block that made it harder for her than usual to be creative and finish her project; and secondly, the theme of her new novel was highly controversial. Because of the time in which this novel was written, namely during World War 1, and the fact that Lagerlöf was a committed pacifist, she wanted to write something to raise the public’s morale. Her aim was to make people aware of the double standard existing in war times that allows killing to be viewed as permissible and let death trump the value of life. War is terrible and should not be glorified. So to make her point, Lagerlöf wrote a story about a polar expedition gone awry and about cannibalism. Is eating a dead man in order to preserve life the worst thing you can do?
Banished is split into three parts, each of which concerns matters of life and death. The first part is about the hero of the story, the explorer Sven Elvesson, and his dilemma as to whether to consume the corpse of his companion or become a corpse himself. His past follows him back to his home village on Grimsön, where he faces judgement and aversion when the truth about what happened during the polar expedition is revealed. The second part of the novel concerns the abusive marriage of the beautiful Sigrun and the local minister Edvard Rhånge. Edvard’s poisonous jealousy is harmful, and Sigrun needs to be cunning and wilful in her struggle for survival and freedom. In the third and final part, the people of Grimsö are forced to open their eyes to reality as they encounter a myriad of dead sailors in the sea after the Battle of Jutland. It is one of the book’s most memorable passages and can be counted among the most powerful literary responses to war in the twentieth century. Read an extract here.
Banished is a thematic heavyweight that unfortunately never seems to lose its relevance. We do not have to look far nowadays to find the glorification of war. Lagerlöf encourages us to take a stand against heinous acts of violence and killing and teaches us that human life is sacrosanct.
It has been a long wait for a new translation of The Emperor of Portugallia but now it is here, to delight Selma Lagerlöf fans old and new. Translated by Peter Graves, it is the latest addition to our ‘Lagerlöf in English’ series, which was launched in 2011 with the aim of making the works of Selma Lagerlöf readily available to English-language readers in new, top-quality translations. Previously published titles in the series include: The Löwensköld Ring (2011), The Phantom Carriage (2011), Lord Arne’s Silver (2011), Nils Holgersson’s Wonderful Journey through Sweden (2013), A Manor House Tale (2015), Charlotte Löwensköld (2015), Mårbacka (2016) and Anna Svärd (2016).
The Emperor of Portugallia is a tale of the bond between parents and children; of the expectations that lie in the roles of the different family members and the conflicted feelings tied to these. The main character of the novel, who adopts the title Emperor of Portugalla as he later descends into madness, is Jan, a poor farm labourer. He becomes a father at quite a late age and, rather to his surprise, finds himself thrilled and overwhelmed with love for his baby daughter. His daughter Klara is a wilful and clever child, and their bond grows stronger as she grows older. When she reaches the age of 17, Jan finds himself in huge debt through no fault of his own, and Klara offers to help by going to the big city, Stockholm, to work and earn the money the family desperately needs. Klara leaves, and so does Jan’s sanity. He creates a fantasy world for himself; a world where his alter ego the Emperor of Portugallia resides with the Empress Klara. Despite the seeming madness of this world, it functions as a cradle of support for Jan and provides surprising insight.
This novel has been described as perhaps the most private of Selma Lagerlöf’s books. At the core of the story, we find the relationship of father and daughter – a theme Lageröf frequently returns to in her works. For this particular tragic novel, the theme led her to consider ‘a Swedish King Lear’ as a possible title. The Emperor of Portugallia, then, is a novel that explores the family and the rights and duties in the relationship between parents and children. It has been described as ‘a sermon on the fourth commandment’ – ‘Honour thy father and thy mother, as the Lord thy God has commanded thee’.
Selma Lagerlöf was a popular writer during her lifetime, and when Kejsarn av Portugallien was published in 1914, it was quickly translated into an array of languages. In fact, translations of Lagerlöf’s works exist in close to fifty languages. Most of her novels were translated into English during her lifetime. But the interrelations between nations and cultures change over time, and the same is true of language and of approaches to translation. That is why it is important to renew translations and inject new life into old classics over the course of time. Each Norvik Lagerlöf volume has a ‘Translator’s Afterword’ in which a range of issues encountered by the translator can be highlighted – an aspect of the volumes that also adds to their usefulness in teaching.
Back in 1916, Velma Swanston Howard was responsible for the English translation of Kejsarn of Portugallien. She was an American of Swedish origin and by far the most prolific early translator of Lagerlöf’s works; many of her translations have been repeatedly republished up to the present day. Without her work and dedication, Lagerlöf’s novels might not have been available to English readers. But language inevitably evolves, and it was high time for a new English version of this moving classic. We hope you will enjoy it!
We’ve come to that time of the year where the only sensible thing to do is to snuggle up under a blanket in the biggest, comfiest chair you can find, and get yourself something hot to drink and a good book. Well, we don’t do blankets, but we can help with the book part! At Norvik, we’ve put together a seasonal recommended reading list of our treasures fit for winter. These are perfect as stocking fillers for friends and family, or why not treat yourself for a few hours in that comfy chair during what the Swedes call mellandagarna (the days between Christmas and New Year)? Click on the link in each title below to visit our website for more information on the books, and how to buy.
This spirited and at times sinister novel ensnares the reader in a tangled encounter between modern-day Scandinavia and the ancient world of myth. In the 1980s, a hardworking Icelandic businesswoman and her teenage daughter Dís, who has been arrested for apparently committing a strange and senseless robbery, are unwittingly drawn into a ritual-bound world of goddesses, sacrificial priests, golden thrones and kings-in-waiting. It is said that Gunnlöth was seduced by Odin so he could win the ‘mead’ of poetry from her, but is that really true, and why was Dís summoned to their world?
Wilfred – alias Little Lord – is a privileged young man growing up in upper-class society in Kristiania (now Oslo) during the halcyon days before the First World War. Beneath the strikingly well-adjusted surface, however, runs a darker current; he is haunted by the sudden death of his father and driven to escape the stifling care of his mother for risky adventures in Kristiania’s criminal underworld. The two sides of his personality must be kept separate, but the strain of living a double life threatens breakdown and catastrophe. This best-selling novel by Johan Borgen, one of Norway’s most talented twentieth-century writers, is also an evocative study of a vanished age of biplanes, variety shows, and Viennese psychiatry.
29 January 1912. In a train compartment in Ogden, Utah, a Danish author was found unconscious. The 54-year-old Herman Bang was en route from New York to San Francisco as part of a round-the-world reading tour. It was a poignant end for a man whose life had been spent on the move. Having fled his birthplace on the island of Als ahead of the Prussian advance of 1864, he was later hounded out of Copenhagen, Berlin, Vienna and Prague by homophobic laws and hostility to his uncompromising social critique as journalist, novelist, actor and dramaturge. Dorrit Willumsen re-works Bang’s life story in a series of compelling flashbacks that unfold during his last fateful train ride across the USA. Along the way, we are transported to an audience in St Petersburg with the Dowager Empress Maria Feodorovna, to a lovers’ nest in a flea-ridden Prague boarding house, to the newsrooms and variety theatres of fin-de-siècle Copenhagen, and to a Norwegian mountainside, where Claude Monet has come to paint snow and lauds Bang’s writing as literary impressionism.
A richly-illustrated one-volume hardback edition of Selma Lagerlöf’s classic tale. This novel started out as a commissioned school reader designed to present the geography of Sweden to nine-year-olds, but Lagerlöf’s work quickly won international fame and popularity, which it still enjoys over a century later. It is a fantastic story of a naughty boy who climbs on the back of a gander and is then carried the length of the country, learning both geography and good behaviour as he goes. It is a story of Sweden, where every province has its tale and out of the many fantasies, a diverse country emerges; a country of the great and the grand, majestic nature and lords and ladies, but also a country of farmers and fishers, goose-herds and Sami, miners and loggers, and of animals – rats and eagles and elk, foxes and geese and all the other creatures who are part of the life cycle of the land.
A House in Norway tells the story of Alma, a divorced textile artist who makes a living from weaving standards for trade unions and marching bands. She lives alone in an old villa, and rents out an apartment in her house to supplement her income. She is overjoyed to be given a more creative assignment, to design a tapestry for an exhibition to celebrate the centenary of women’s suffrage in Norway, but soon finds that it is a much more daunting task than she had anticipated. Meanwhile, a Polish family moves into her apartment, and their activities become a challenge to her unconscious assumptions and her self-image as a good feminist and an open-minded liberal. Is it possible to reconcile the desire to be tolerant and altruistic with the imperative need for creative and personal space?
Kerstin Ekman’s wonderful poem Childhood is presented here as a dual language English/Swedish publication illustrated with original photographs provided by the author. Kerstin Ekman is primarily known as a novelist, but she has occasionally turned to free verse, especially when the subject is autobiographical. In 1993-1994, Swedish TV 1 conducted a series of talks with prominent writers under the rubric ‘Seven Boys and Seven Girls’. In place of an ordinary interview, Kerstin Ekman read aloud Barndom (Childhood). The prose passages are quotations from Ekman’s 1988 novel Rövarna i Skuleskogen (The Forest of Hours).
Also by Kerstin Ekman is the novel The Angel House, in which Ekman provides an alternative, subversive history of the community in which she grew up. It is a story that stretches through a century, told through the perspective of the generation of women living in those times:
A giant had a washbowl which he set down in the forest at the base of a moraine. It was made of granite and deeply indented, and he filled it with clear, amber water which looked like solidified resin when the sun shone on it on a summer’s afternoon.
In winter, the top layer of the water froze into a lid and the entire bowl went very still, just like the forest around it. Then, down at its deepest point, a pattern of stripes and dashes would move. A pike, if there had been one, would have seen that it was not broken lengths of hollow reed swaying there but thousands of his brothers the perch, sluggishly and cautiously changing positions.
Across the top of the lid spun a rope-covered ball and after it, heavy but fast, skated men with clubs in their hands. They were dressed in black knee breeches and grey woollen sweaters. About half of them had black, peaked caps with both earflaps turned up and kept in place with two thin shoelaces knotted on top of their heads.
Half had red knitted hats with tassels. Sometimes one of the ones in peaked caps went whizzing off with long blade strokes, feet inclining inwards, guiding the ball in front of him with his club. If a tassel-hat got in his way, both of them would go crashing onto the rough ice near the shore, flattening the broken reeds and sending ice and coarse snow spraying round their metal blades.
Round the edge of the Giant’s Washbowl, people stood watching, virtually all men, coming so far out of town. But Ingrid Eriksson was standing there too. She stood there every winter Sunday, whenever there was a match on.
For further reading in the New Year, watch out for the brilliant Pobeda, coming very soon.
Finally, we’d like to wish all our readers a very Happy Christmas!