A distinct Nordic atmosphere is at the centre of many literary works written after 2000. Snow, silence, darkness and the contrast between a cramped home and nature’s expanse are common features of the linguistic investigation of a female space. This imagery unfolds in the novels and poetry collections of authors such as, Johanna Boholm, Merethe Lindstrøm, Rosa Liksom and Christina Hesselholdt.
After the millennium, globalization and the migration of women from economically unstable countries to the West became a theme in literature. The conception of a global sisterhood was challenged by the reality that many encounters with “other” foreign women were manifestly encounters between an employer and a domestic worker and thereby entailed a superior-inferior relationship. Reflections upon the unequal power relation between women from the Nordic region and their oppressed “sisters” is expressed through au-pair novels, literature about female refugees as well as docuseries and comic strips about the encounter with oppressed women from outside Europe. Examples of authors working with these issues in a literary context are Kirsten Hammann, Sara Kadefors Aasne Linnestå and Åsne Seiersted.
During the 2000s, the biographical and self-biographical narratives of the 1970s were replaced by new hybrid forms that operated in the space between fact and fiction. The genre was employed by both male and female authors, but the female authors in particular, were criticized for transgressing the private sphere in exhibitionist ways.Female exponents of autofiction are, amongst others, Maja Lundgren, Carina Rydberg, Suzanne Brøgger, Anne Lise Marstrand-Jørgensen and Herbjørg Wassmo.
Late-modern children’s literature and young adult fiction in the Nordic countries is bold, vibrant and diverse. Questions surrounding gender, sexuality, identity and the body play a large role and offer children and young adults alternatives to (existing) gender stereotypes. Examples of female authors who have innovated children’s literature and young adult fiction are Dorte Karrebæk, Lene Kaaberbøl, Inga Sætre, Pija Lindenbaum and Anna Höglund.
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.
In the 1970s, the indigenous Sami people of the Cap of the North (the northwesterly arctic tip of Europe consisting of counties in Norway, Sweden, Finland and Russia), and minorities, such as the Swedish Tornedalians, began to mobilise and form organisations. The first literary work written by a Sami woman in a Sami language was published in 1971 and since then, many female authors have followed with works that thematise contradictions between majority and minority cultures. In these works, old Sami myths and oral hand-me-downs are brought to bear in the investigation of a particular female Sami identity. Leading female authors include Rauni Magga Lukkari, Synnøve Persen, Maren Uthaug and Rosa Liksom.
Greenlandic literature from 2000 onwards is concerned with, amongst other things, language politics and national pride and with moving beyond the old colonial narratives of power and powerlessness.Whereas Greenlandic authors have, in the past, written primarily for a Greenlandic audience, more recent Greenlandic literature has undergone various changes and become more internationally oriented. Among some of the new leading Greenlandic voices are Jessie Klemann, Julie Edel Hardenberg and Katti Frederiksen.
Around the turn of the 21st century, a new author function arises – also called a seminaut, meaning somebody who perceives the world as accessible material that can be collected and re-worked. The author’s body and private life are understood neither as fundamentally irrelevant nor per definition relevant but rather as material that can be recycled. Exponents of this writing style include, Christina Hagen, Mona Høvring, Athena Farrokhzad and Niviaq Korneliussen.
Contemporary Nordic narratives of insanity and psychiatry are about gender-ambivalence and creativity. Unlike before, much contemporary literature is concerned with how to fundamentally break away from gender in a bid to rediscover a pre-gender condition, where the gendered body and sexual desire are not one and the same.Exponents for this literary tendency are, amongst others, Lotte Inuk, Christel Wiinblad, Beate Grimsrud and Linda Boström Knausgård.
During the 1990s and 2000s, the so-called Nordic queens of crime and their femi-crime novels conquered the bestseller lists. In feminist-inspired crime fiction, gender roles are often reversed or presented as ambivalent and common themes include male violence against women, rape, child abuse, prostitution and trafficking. The most well-known queens of crime are, amongst others, Susanne Staun, Gretelise Holm, Anne Holt and Liza Marklund.