Female poets of the early twentieth century discreetly described sexual experiences in terms of grass that smoulders or is flattened like a mat beneath the lovers. Eventually, the euphemisms grew unnecessary and Eros’ significance to a generation of female poets becomes obvious in the work of Berit Spong, Ingeborg Björklund, Greta Knutson, Martha Larsson, Maria Wine, Ingeborg Erixson, and Elsa Grave, among others.
Four women poets made their mark on literary Sweden on the threshold of the twentieth century. Jane Gernandt-Claine’s writing, which consisted of five short story collections and twelve novels, in addition to poetry, was her link to Sweden. Ever since her debut in 1893, the topics for her prose had come from other countries. All of Gernandt-Claine’s writing reveals a strong commitment to women while portraying heterosexual love as the ultimate goal and greatest pleasure that life has to offer.Anna Cederlund argued for the importance of beauty in everyday life. The last poem in her book testifies to a powerful force outside herself, that of love. Harriet Löwenhjelm’s oeuvre consists of twenty-two diaries with vignettes, etchings, and drawings, book manuscripts, letters, and poems. She is known for playing the jester and hiding behind various disguises. She knew where her poses came from: the first link in the chain was commedia dell’arte. Karin Ek wanted to reach all Swedish people. Her dearest wish was to convey her love for poetry, a “source of universal happiness.” Her own song grew out of both passion and suffering; poetry was her lifeline.
If nineteenth-century women could not become pastors and if they could not without conflict devote themselves to intellectual work, the closest they could come to the pulpit was by way of writing hymns. Lina Sandell called herself “a good scribe’s pen”, an expression that combines lack of pretence with high self-esteem. The hymn-books of the free-church communities came to be, and still are, totally dominated by Lina Sandell, beginning with the first edition of Pilgrimsharpan (1861; The Pilgrim’s Harp).In order to create a female tradition, the female Christian writers were looking for models among the figures of the Bible. Together with Charlotte af Tibell, Lina Sandell wrote the book Bibelns qvinnor (The Women of the Bible), and Betty Ehrenborg-Posse chose the Bible’s Deborah, Miriam, and the four daughters of Philip the Evangelist as her models. These learned and poetical women, she thought, had been authorised by God to write spiritual songs, even though some might consider this task to pertain exclusively to the clergy. But the position she obtained offered more room for her preaching than she would ever have had as a pastor.