Under her pseudonym ‘Harold Gote’ (Harold the Goth: the Gothic/Nordic herald), Frida Stéenhoff was to present some of the most progressive and radical contributions to the period’s debate about society and about women. Due to her visions of a gender-equal and classless society, she became “the timber owners’ and the wholesalers’ bête noire”. However, Frida Stéenhoff’s wish was not only to expose the period’s sexism in her texts. It was just as important to her to formulate strategies that would bring about change. One of her main points was that motherhood can only be harmonious if the woman is able to support herself. Her works of fiction bear resemblance to the programmatic pamphlet and the predictable one-party plea, and this is to the detriment of its aesthetic effect. Nevertheless, her fiction and her pamphlets form an important link in Nordic women’s literature. Thanks to her avant-garde voice, these works helped to advance the woman’s position, and Frida Stéenhoff became one of the leading feminist theoreticians around the turn of the century.
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The Swedish writer Hilma Angered-Strandberg offers something of an aesthetic manifesto. She wants her fiction to spring forth, both “from a desire to write in the moment of inspiration, and from a desire to be useful, to grasp people’s ears and force them to listen to all the things that are wrong and shameful out here”. The lines are written with reference to her breakthrough work Västerut (1887; Out West), which is a collection of short stories set in the Swedish west-coast province of Bohuslän. Throughout her life, Hilma Angered-Strandberg was possessed by a desire to write. Through bitter experience, she realised that if an author wants to depict life in a credible way, she must in her fiction allow herself the lack of order that is characteristic of life itself.
Hiding behind the pseudonym Stella Kleve was Mathilda Kruse, a young woman from the south-Swedish province of Scania who was later to be known as the author Mathilda Malling. She was well-educated and widely-travelled; and she wanted to follow the newest trends in her writing – her pseudonym became synonymous with loose morals.Her portraits of women provoked the public. This was something she was absolutely conscious of: she wanted to write about the modern woman who knows herself and her sexual desire, and who is even capable of controlling, coldly and calculatingly, the game between the sexes.Stella Kleve’s women were indeed playing on the very verge of the forbidden. This is why it is tempting to read her portraits as female counterparts to the decadent male heroes in the contemporary literature in, for example, England, France, and, of course, the other Nordic countries. Or, why not: as a female challenge to the mostly male-dominated modern literature.
Henrik Ibsen did not always go unchallenged. On the contrary, several of the women of the Modern Breakthrough felt provoked to correct or revise Ibsen’s original text, and time after time his portraits of women turn up in their plays and short stories, but rewritten on the basis of a different horizon of understanding. Two obvious examples from 1882 of such a female, partly subversive dialogue with Ibsen are Anne Charlotte Edgren Leffler’s short story “Tvifvel” (Doubt), and Alfhild Agrell’s play Räddad (Saved).These texts clearly show how Ibsen’s portrayal of women served as a challenge, a set piece that had to be tested and partly destroyed in order for the two female authors to arrive at a more credible story.
In texts by female authors, work can often be combined with love and marriage, no matter whether the woman chooses regular paid employment or whether she, as is more frequently the case, becomes her husband’s partner or colleague. If, on the other hand, the woman chooses an artistic profession, the difficulties immediately begin to mount.“Female authors and artists are whores”, August Strindberg wrote in a letter to Ola Hansson. When the woman leaves her sheltered position in the home and steps out into the public sphere to sell her product, and thereby also herself, to an anonymous and paying audience, she is looked upon as being everybody’s woman, a prostitute.The conflict between love and art, between duty and calling, and between everyday life and life as an artist is a theme that recurs, with variations, in the works of the female authors of the 1880s, and one that is often presented on the backdrop of the stage and with an actress or a female singer as the main character.
The middle-class novel develops during the eighteenth and nineteenth centuries in an intensive interplay with the reading woman. To a great extent the new literary genre of the time is addressed to and is about her. For the middle-class woman who was confined in so many ways, reading was to become both a diversion and an education in the woman’s new role. It also became a much discussed and criticised occupation.Ever since the eighteenth century, women had been the best costumers in the bookshop, the keenest borrowers at the libraries, and the most reliable members of the reading clubs, but their reading had constantly been the object of criticism. And in the later part of the eighteenth and in the beginning of the nineteenth century, when novels are gaining ground in Sweden, this is accompanied by heated discussions about the harmful effect of the genre on its female readers. Novel reading was thought to be unwholesome and to render the reader passive. It made women unrealistic, dreamy, and incapable of living.
Carl Jonas Love Almqvist’s novel Det går an. En tavla ur livet (It Can Be Done! A Picture out of Life; Eng. tr. Sara Videbeck) is a sharp and sweeping rejection of the Romantic image of the woman and a simple and elegantly presented utopia of love. It gave rise to the most heated and profound gender-political dispute on the literary scene in nineteenth-century Sweden, until the ‘morality controversy’ a few decades later. Some of the writers defended Almqvist, but most of them criticised him strongly.Without exception, the female authors who participated in the debate regarded Det går an as a male fantasy. The fact that Almqvist attached such great importance to the separation of sexuality from the institution of marriage made it almost impossible for the women to embrace his book wholeheartedly, although they shared his feminist views on other issues.
The greatest part of Aurora Ljungstedt’s popular writings, which were published in nine volumes in the period 1872-82, consists of short stories, sometimes put together to form a greater whole thanks to a recurring gallery of characters. Her most used pseudonym, ‘Claude Gerard’, is taken from one of the Paris novels by Eugène Sue, and she may be said to have further developed in a psychological direction the tension-creating serial novels of the 1840s, with their lost letters, foundlings, scheming scoundrels, and mysterious events.Her plots are always well crafted, and she meets the public’s demand for vice to be punished and virtue rewarded. In her ample production of novels there are examples of pure horror Romanticism, but also skilfully written crime stories. Her often colourful female criminals and drab male criminal investigators reflect general tendencies in the period’s crime literature.
Swedish Emilie Flygare-Carlén’s first novel, Waldemar Klein (1838), to a great extent plagiarises the well-known style of Knorring’s novels. But later on she developed a profile all her own. The discussion of sexuality, men, and women that von Knorring had introduced was to be further developed, in a modern direction, by Flygare-Carlén. She did not shy away from calling the man’s egotism vis-à-vis the other sex by its rightful name, or from exposing the woman’s strategic duplicity with regard to engagement and marriage.Whereas Knorring describes sexuality as passionate and pent-up at one and the same time, Flygare-Carlén more explicitly sees it as a necessary but fatal drive. As her writing career progresses, she also shows how a determined woman may not always be able to change her situation but is at least able to influence it. It is undoubtedly her courage in giving a positive depiction also of vigorous women that is the secret of her great financial success as a bestselling author. In 1862 Emilie Flygare-Carlén was awarded the Swedish Academy’s large gold medal, and in 1865 her last important work appeared, the autobiographical trilogy Skuggspel (Shadow Play).
In the 1810s the talented Baroness Sophie von Knorring had published six novels. She now only holds a place as a footnote in literary history. The reason may be that she was a paradox? An aristocrat of a nearly Gustavian stamp, yet also an unsparing critic of the arrogance of birth, she belongs to the most refined milieus, which she exposes without mercy. Her critics refer to her outmoded view of women and believe that her main topic is the indissolubility of marriage.To a modern reader, the real purpose of Knorring’s novelistic art is to describe the issues connected with female eroticism and the idealising power of passion. The message of the moral double standards, as well as the subtle nuances that distinguish ‘pure’ from ‘bad’ women, is what Knorring tirelessly analyses. When in her novels Sophie von Knorring examines how women’s passions become ‘criminal’ compared with men’s moral double standards, she is in the good company of the great authors of world literature. Germaine de Staël, Rousseau, and Johanna von Schopenhauer.