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.
Tag: Poetry
Norwegian poet Eldrid Lunden made her debut in 1968 with the poetry collection f.eks. juli (July for instance), a brazen new book that challenged the established conventions of Norwegian poetry. She is a pioneer among the feminist poets who explore language as a mechanism of power, as well as exploring the possibilities of the poetic form.Eldrid Lunden often associates femininity with metaphors involving water, rain, mucus, and mouths; whereas masculinity is connoted by “tougher” metaphors such as cars, insects, and the pulse. In Lunden’s texts, however, this rhetorical interaction is also open and dynamic. In fact, one of the key aspects of her poetry is to avoid fixed meaning, and instead break down the conventional perceptions that can cement the gender role pattern. Movement, music, and melancholy, but also rebellion, flow like a blue wave through Eldrid Lunden’s work: nothing is allowed to settle down in this language; poetry is eternally impatient.
With her debut collection, Indeni – udenfor (1967; Within – Without), Danish writer Kirsten Thorup succeeded in placing herself from the outset at the centre of the literary arena. Here and in her subsequent collections she explored the positions of alienation, powerlessness, and objectification in a markedly personal voice. With her remarkable novel Baby (1973) it became clear that Kirsten Thorup had something more to say. This novel was a stylised and compact prelude to a comprehensive body of contemporary literature that has made her one of the most widely read authors in Denmark.Kirsten Thorup presents us with an unmerciful and paradoxically loving portrait of the apocalyptic images that constitute contemporary culture.
Three female Finland-Swedish authors who are generally included among the second wave of modernists began writing in Helsinki during the 1930s: Solveig von Schoultz, Mirjam Tuominen, and Eva Wichman. The war sliced through their lives and rewrote the terms of their careers.They explored new means of describing their experience, renewed the short story genre, and modified modernist poetry in various ways. Schoultz turned the spotlight on what she later called “society’s smallest cell, interpersonal relationships”, while Tuominen illumined the fundamental ethical issues of the age with the passion of Cassandra, and Wichman – whom the war radicalised – wrote political battle songs.
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.
The gloominess of post-war Finland created a deep thirst for art and literature. A great deal of poetry was published and an unusual percentage of the first-timers were women, both Swedish- and Finnish-speaking. The women’s poetry, however, did not centre on politics or patriotism, but on the self, personal experience, family, home, children, the world, and humanity. Post-war poetry sought to create forms that differed from the classical approach, whose status had grown during the war. Young women, who frequently were more eager than their male colleagues to discover fresh perspectives and to emerge from the shadow of war, found their voice earliest and most naturally.The work of female poets may be interpreted as a commentary on a genre that was in flux, as well as an elaboration of creative strategies. A remarkable number of women were able to forge distinctive identities and write their own brand of modern poetry – clear evidence of their importance and strength in the shadow of the war.
A number of Kerstin Söderholm’s traits qualify her as a Finland-Swedish counterpart to Karin Boye and Virginia Woolf: the privilege of working at the core of avant-gardism, as well as vulnerability, failing physical and mental health, and a death wish that eventually led to suicide.Like many other Finland-Swedish modernists, Söderholm wrote poetry that largely centred on nature themes. Poetry is her way of defining a tentative self and an evasive, inaccessible other.
During the 1920s, Finnish Katri Vala was the central figure of a literary group called the Torchbearers, which represented the first generation of authors after Finland obtained its independence. Their goal was to overturn existing literary conventions.She made her debut with Kaukainen puutarha (1924; The Faraway Garden). The most innovative feature of Vala’s poetry is its visual lucidity. Another characteristic is its free verse, which took hold in Finland partly due to her. Her imagery reflects the use of primitive and exotic elements by early twentieth century modernists. In primitive cultures they found the original life force that art needed for renewal, and they countered the prevailing culture with exoticism.Spending time in prison was a crucial event in the life of Elvi Sinervo (1912-1986), who started off with a book of short stories entitled Runo Söörnäisistä (1937; A Poem from Sörnäs). The most important prose author in the left-wing Kiila (Wedge) group, she was sentenced in 1941 to four years at a house of correction for participating in illegal political activities. The themes of the book place it squarely in the anti-Fascist literary tradition.
The writing of Rut Hillarp is suffused by refined erotic mysticism, far from the primitivist sexual Romanticism of the 1930s modernists. Her kinship with the Swedish erotic poet Erik Johan Stagnelius, their vacillation “between spiritual sensuality and sensual spirituality”, their eroticised experience of life. But the glue that ultimately holds Hillarp’s poems together is the “now”.She has been compared with both Edith Södergran for her erotic poetry and Karin Boye for her sexually charged spirituality. The ultimate objective is guilelessness. The experience of pain and ecstasy is a means of becoming more receptive.
Female poets of the early twentieth century discreetly described sexual experiences in terms of grass that smoulders or is flattened like a mat beneath the lovers. Eventually, the euphemisms grew unnecessary and Eros’ significance to a generation of female poets becomes obvious in the work of Berit Spong, Ingeborg Björklund, Greta Knutson, Martha Larsson, Maria Wine, Ingeborg Erixson, and Elsa Grave, among others.