“The first Bomb detonated at the ‘Trinity’ site was called a ‘baby’. When the scientific fathers of the Manhattan-project telegraphed President Truman after the ‘birth’ on 16 July 1945, the telegram read: ‘The child was well-shaped’. The bomb dropped on Hiroshima was called ‘Little Boy’. And today they are creating ‘fifth generation’ rockets,” writes Norwegian author and psychologist Wera Sæther in 1985.Can such a ‘civilisation’ ever be saved? Only with the language of love, Wera Sæther thinks, can evil be conquered and life worshipped – in place of death. In this striving, man and woman are not separated from each other: only by a united effort can powerlessness be conquered.
All of Agnes von Krusenstjerna’s works revolve around the feelings of coercion, desperation, and revolt that the world of her childhood fostered. Her quest took her from the depressive chronicle of mental breakdown to a utopian dream of redemptive femininity.Her novels ask questions that women living through a period of sexual transition found both difficult and urgent: what role did sexuality play in female identity? How could women arrive at a life-affirming sensuality, free from the inherited baggage of sexual paranoia, misogyny, and denial of female desire? The strength of her storytelling is the ability to portray repressed and forbidden feelings, the secret of its suggestiveness and appeal, as well as its power to offend, alarm, and disgust the reader.
As a proponent of family planning and contraception, Danish writer Thit Jensen was a both loved and controversial participant in the public debate of her day. Unsurprisingly, the ‘personality project’ – to be a person, standing on one’s own two feet, following one’s resolve, and having the courage of one’s convictions – is a motive force in all her works. The dream of a unified whole steers the personality project: to be able to love and to work, develop one’s self and serve others, combine private and societal, be an artist, not just in name but in fact.Thit Jensen’s personal and artistic visions are united by a structure of female solicitude. She wanted to do more than the conventional forms of the novel could manage. She combines novel of formation and novel of development with social commentary, bordering, but not finding, a collective form. She thus bursts open the form, but does not find a new form that could unify and support her desire for accomplishment.