Greenlandic literature from 2000 onwards is concerned with, amongst other things, language politics and national pride and with moving beyond the old colonial narratives of power and powerlessness.Whereas Greenlandic authors have, in the past, written primarily for a Greenlandic audience, more recent Greenlandic literature has undergone various changes and become more internationally oriented. Among some of the new leading Greenlandic voices are Jessie Klemann, Julie Edel Hardenberg and Katti Frederiksen.
New Trajectories Between Signs. The Transformations of the Author Function at the Turn of the 21st century
Around the turn of the 21st century, a new author function arises – also called a seminaut, meaning somebody who perceives the world as accessible material that can be collected and re-worked. The author’s body and private life are understood neither as fundamentally irrelevant nor per definition relevant but rather as material that can be recycled. Exponents of this writing style include, Christina Hagen, Mona Høvring, Athena Farrokhzad and Niviaq Korneliussen.
Contemporary Nordic narratives of insanity and psychiatry are about gender-ambivalence and creativity. Unlike before, much contemporary literature is concerned with how to fundamentally break away from gender in a bid to rediscover a pre-gender condition, where the gendered body and sexual desire are not one and the same.Exponents for this literary tendency are, amongst others, Lotte Inuk, Christel Wiinblad, Beate Grimsrud and Linda Boström Knausgård.
During the 1990s and 2000s, the so-called Nordic queens of crime and their femi-crime novels conquered the bestseller lists. In feminist-inspired crime fiction, gender roles are often reversed or presented as ambivalent and common themes include male violence against women, rape, child abuse, prostitution and trafficking. The most well-known queens of crime are, amongst others, Susanne Staun, Gretelise Holm, Anne Holt and Liza Marklund.
During the mid-1990s, a new genre of literature came to the fore, and was subsequently labelled chick lit. It was an updated version of the classic romance novel, embracing single life and dating culture in the big cities from a gender-perspective. With well-known titles like Sex and the City and Bridget Jones’ Diary as the leading examples, authors such as Henriette Lind, Lotte Thorsen, Kajsa Ingemarsson and Siri Østli have developed their own Nordic variety of chick lit.
Around the time of the millennium, a new generation of female Nordic authors had their debut. Their signature style was perfomative experimentation with a splash of humour and irony. The authors were building upon a gender-conscious literary tradition and taking inspiration from contemporary gender theorists such as Sara Ahmed and Judith Butler. Leading voices of this generation include Christina Hagen, Kristina Nya Glaffey, Mara Lee and Trude Marstein.
Killjoys, Family Dramas, and Reader Confrontations – Immigration and Adoption Literature in the Nordic Region
From the millennium onwards, the literary scene is populated with new voices that explore themes such as, racism, whiteness, gender, adoption and migration. What the authors have in common is the use of their minority position to reflect over the experience of having a linguistic and cultural double-identity. Maja Lee Langvad, Eva Tind, Athena Farrokhzad and Jonas Hassen Khemiri are among exponents of these new voices.
Sara Stridsberg was born in Stockholm in 1972. Her debut novel, Happy Sally, was published in 2004, and she was awarded the Nordic Council Literature Prize for her novel, Drömfakulteten (2006; The Dream Faculty), in 2007.
Sofi Oksanen is a literary sensation. Born in Finland in 1977, to a Finnish father and an Estonian mother, she writes in Finnish but calls herself a Finnish-Estonian writer. As a declared feminist, she speaks openly about men’s violence against women and Putin’s rule in Russia.
The relationship to the family, the mother, and to womanhood constitute the first of two main themes in the works of Auður Jónsdóttir (b. 1973). The second theme is the relationship between the Western master races and the emerging international working classes in the new millennium. While seemingly unrelated, these two themes have much more in common than one may initially think.