Karin Boye’s most inspired poems are born at the juncture of “the world of appearances – a world that depicts”, and “the other world, the heavy, transformational world that did not ask for superficial flourishes”. Their tension oscillates between “that which breaks” and “that which bars” and is instantaneously released in a euphoric cry of freedom, for “fear can live no longer”, and the ego surrenders unconditionally to “the trust that creates the world”.Her suicide in 1941 has affected the way that people look at her life and her art. She has been portrayed as “tragic” and “consecrated to death”. Her work has been interpreted throughout as that of someone who struggled heroically against her “death wish”. Her writing often resides between sleeping and waking, an unreal kingdom in which dream and desire reign, a place that human beings never completely leave and always yearn for deep within.
Aase Hansen and Ellen Raae belonged to a generation of women for whom citizenship had been won, but the victory did not feel like a personal triumph. Along with writers such as Johanne Buchardt, Ellen Duurloo, children’s book author Estrid Ott, working-class writer Caja Rude, and Karen Bjerresø, they comprise a group interested in and troubled by the interplay between women’s demands on life and the new age as promise and threat.This is a group of writers whose fate in the annals of literary history has largely been one of silence.
On Literary Sexual Politics in the 1930s