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.
Kerstin Ekman is a literary successor to Elin Wägner, and is close to her biting criticism of society and strong pathos. Her oeuvre began with a number of detective novels, but developed away from the detective genre, and the writer brought the detective genre with her into her later novels.In her works, one finds controversial perceptions of God and indications of the metaphysical that delineate a rebellion against the male ideologies, which for thousands of years have absorbed woman into a pattern wherein she must basically fight herself. Kerstin Ekman’s books are very different from each other. She keeps trying out new forms. However, they all concern themselves with lovelessness and love. And with a journey in language through continued transformation towards a core point in the human being: “a point where she is at home with herself.”
In the 1960s, the strong Icelandic ‘rímur’ (rhymes or ballads) tradition made way for a ‘free form’ modern poetry, which itself was part of an international revolution within poetic language. At the age of nineteen, Steinunn Sigurðardóttir appeared at the crossroads between modernism and the 1970s confrontation with modernism’s inaccessibility.Her authorship has received a lot of attention, and is characterised by a unique lightness and linguistic playfulness. The combination of isolation with a many-sided self, a theme that occasionally emerges in her poems and prose works, is the result of a reflection on time, its nature, and its transitoriness. In this way, a search for time goes hand in hand with a search for the self. Today, Steinunn Sigurðardóttir is a beacon of Icelandic literature. Her thematic concerns have been picked up by other Icelandic writers, including Vigdís Grímsdóttir and Álfrún Gunnlaugsdóttir.
Stina Aronson, who published seventeen books, is best known for her depictions of life in the ‘wasteland’ of Norrbotten province. She acquired a wide readership with her novel Hitom himlen (1946; This Side of Heaven) after many years of a distinguished writing career. Among the innovative features of Aronson’s tales from northern Sweden is the paucity of plot in the generally accepted sense of the word. Discovery of the world, its serenity and sudden horror, is the primary event.The greatest inner tension in Aronson’s later works is between the modernist description of the world and a moral or ethical attitude towards it. Aronson’s stories of northern Sweden offer the gift of resonance that transforms alien silence into familiar intimacy, which somehow remains fundamentally unknown and unknowable.
Anna Bondestam took up literature after a Nordic novel competition in 1936 in which her debut novel, Panik i Rölleby (1936; Panic in Rölleby), was the runner-up. Klyftan (1946; The Chasm), Bondestam’s autobiographical novel, reaches into the most intimate corner of her life: her childhood experiences of the Finnish Civil War in Jakobstad in 1918.As an account of the civil war, Klyftan is a harbinger of the more open approach that emerged in the 1960s and 1970s. Read as a trilogy, Vägen till staden, Stadens bröd, and Klyftan are not only a journey through changing Finnish society, but an uncelebrated slice of women’s history: the lives and political education of factory workers.
One of Astrid Lindgren’s most effective techniques is to let imagination engulf reality. The interpretation of the world by a ‘lying’ child triumphs. The most extravagant childish dream of omnipotence comes true in the story of Pippi. With irrefutable logic, Lindgren demonstrates what a solitary child needs to avoid being crushed in a world of hard-headed pragmatism.Most of Lindgren’s writing inhabits the borderland of reality and fantasy. While some of her works are demonstrably realistic, they are nevertheless about the ability of fanciful children to live in a world of play and imagination. Lindgren’s sensitivity to children’s feelings and perspectives, along with her uncompromising willingness to take their side, is a modernist trait that links her work to the radical psychology of permissive child rearing that made inroads in Sweden between the wars.
Nuoren opettajattaren varaventtiili (The Young Teacher’s Safety Valve) by Hilja Valtonen was the first modern Finnish light novel, a trendsetter for its humour and cheekiness. She published close to thirty bestsellers between 1926 and 1975. Her heroines are career women, often self-taught, and marriage is described as an attractive option, if not the only one. A number of the novels are incisive analyses of inequality in marriage, portraying the modern man as “old-fashioned at heart”.The new wave of popular Finnish novels by women dauntlessly combined romantic intrigue with analyses of inner conflicts. The novels of Elsa Soini examine the status of the modern woman in inter-war society. She depicts several generations of women from turn-of-the-century suffragettes to modern tomboys with upper secondary or university degrees. Her works call the sharp dividing line between femininity and masculinity into question.
The Åland islands author Sally Salminen made her debut with the novel Katrina (1936; Eng. tr. Katrina), which became one of the biggest Nordic bestsellers of all time. The social critique implicit to the book aroused strong feelings in her native village of Vargata on Vårdö Island.The novel opened the door to a literary career, but grew to be a burden as well. Sally Salminen ended up publishing a total of seventeen novels, travelogues, and autobiographies. But Katrina overshadowed everything she did. Her last four books were autobiographical, and among these, Upptäcktsresan, has been called one of the best Finland-Swedish novels about the 1920s.
Women writers of the so-called primitivist movement write about lawless passion. The female characters of their novels often pay with their lives for their forbidden passion. The novels formulate a more or less explicit critique of the way that patriarchal society links ownership of the earth to that of women as sexual objects while maintaining a level of erotic ambivalence – a strategy that successfully attracted wide female readership.The novels reflect thoroughgoing knowledge of the joys and hardships associated with tilling the soil. Nor do they skip over the role that women’s crafts played when it came to ensuring survival of the family farm. Both male and female primitivists wrote about sexuality in a frank and open manner. Female primitivism decoupled the ambivalence of the sentimental literary tradition from its religious, patriarchal assumptions and turned it into a sensual code that stood on its own.Female desire in these books burns down villages, devastates marriages, slaughters farmers, and allows women to affirm themselves by listening to their bodies. Eventually, they and their offspring are punished mercilessly, often with death.