Around the 2000s, the personal, once again, became political and a new generation of female poets has since been addressing the globalized, mediarised reality through themes such as gender, identity and the body.Through their poetry, connections are created between intimate, bodily affairs and global issues such as war and climate change as well as questions surrounding white privilege and the traces of colonialism. Among today’s female poets are Mette Moestrup, Aase Berg, Ida Börjel and Gerður Kristný.
Nordic novels in the 21st Century are filled with female detectives, gothic heroines and monsters. While the female protagonist in male authored narratives is often transformed into a destructive monster, female authors tend to draw upon supernatural features in order to thematise the female protagonist’s self-realisation and liberation from both the dominant gender contract and traditional family configurations. Leonora Christina Skov, Olga Ravn, Majgull Axelsson and Yrsa Sigurðardóttir are among some of the main exponents of the gothic novel.
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.
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.
The Finland-Swedish writer, Monika Fagerholm, combines, in one book after another, the reader-friendly characteristics of realism – plot, strong local colour, and interesting characters – with a bold revival of the storytelling of traditional prose in unusual ways. She entertains and experiments; she has her cake and eats it, too.
Helle Helle (b. 1965) was awarded a lifetime grant from the Danish Arts Foundation in 2010. The nomination letter stated, that she is “one of Denmark’s foremost interpreters of the middle classes and of the Danish provinces”.
In Swedish women’s prose of the 1980s, we find an attitude that is focused on the self and is explicitly critical of language, as well as a thematisation and revision of monstrous and angelic traits that relate to the tradition of women’s literature.
The change of decade from the 1980s to the 1990s was interesting and eventful for Swedish minority literature in Finland. Epic depth, psychological intensity, and fully formed characters, a rich subject matter integrated in a convincing intrigue, narrative skill, and consciousness of form, interesting metafictional reflections, and the ability to create suggestive fictional universes – all these technical virtues of the novel are found richly represented in the new golden age of Finland-Swedish prose, which, furthermore, is dominated by women writers.For the Finland-Swedish poets who made their debuts in the 1980s and 1990s, “women’s poetry” is no longer relevant. “Use” poetry has done its part, and consolidating sisterhood and agitation are no longer necessary. The interest is more in poetry as language.