Lyric poetry from the 1960s.
Tag: Poetry
In the 1950s and 1960s a series of women writers took centre stage in Nordic literature. They stood forth as full-fledged modernists and they were greeted with ovations. They rewrite the isolation of modernism, but though they position themselves at the forefront of the literary stage, they place their literature at the service of the outsider.They write themselves into the tradition where the poet is a stranger on the outskirts of society, but they also place themselves outside this literary tradition and constantly butt their heads against its accepted definitions, symbols, and use of language. A common theme is the culturally marginalised, that which among post-war and even more among post-modernist philosophers has been defined as ‘the female’.
Ulrika Eleonora’s court circle was in contact with key figures in the Pietistic reform movement, and was thus a parallel to the spiritual movements on the continent, which were attempting to put the demand of freedom and human worth for the woman into practice.Many poems in Der Nordische Weihrauch manifest distaste for the pomp and splendour of court life and reveal a focus on the inner person.
In Greenland and the Sami Language Area, women’s modern literary production began with the political trends in the late 1960s and early 1970s. Greenland and northern Scandinavia were discovered as regions, and the Greenlandic and Sami peoples began to view themselves as ethnic minorities: no longer must they feel inferior to the dominating cultures, now the people’s own voice should be heard in its own language.A new generation of writers emerged in protest against the cultural invasion of the Danes, the Norwegians, and so on, and the women also got involved. This was the same period as the decade of the women’s movement. Women writers in Greenland, Kalaallit Nunaat, and the Sami Language Area, Sápmi, made their entry on the literary stage.
A feeling that time is just passing by, and a longing for freedom, love, and a language that can contain life’s and the ego’s many sparkling facets makes itself felt in many texts by debut authors of the 90s. The poetry of the 1990s does not lament the loss of meaning or identity, or make the body an ultimate point of reference, but seeks glimpses and identity in movements and by changing direction.The literature of the 1990s primarily perceives life and the formation of meaning as transformation or movement. And it is in a movement around a female character that the ego is staged, with its entire baggage of pain, loneliness, longing, self-destruction, irony, and humour. The ego is invented, explored, thinks, or is present as a textual energy in the narrative or poem.The many young writers who made their debuts in the 1990s have become the object of much attention.
Postmodern Storytellers
The Norwegian author Herbjørg Wassmo made her debut as a poet in the 1970s, and has since written both drama and documentary literature. The five great novels that came out in the 1980s and 1990s have, in all their complexity and apparent differences, one overall theme: the neglected child. However, Herbjørg Wassmo’s intention was apparently not to criticise inadequate or unloving parents nor to castigate an alienating society in a modern sense. The actual conflict takes place at a deeper level.In addition to telling the story of the young and unfinished person in a complicated socialisation process, “the neglected children” represent primarily the “childhood injuries” we all carry around with us – regardless of age, time, and situation.
Many contemporary women writers appear caught up in a paradox of form: on the one hand, women in contemporary literature create literary aesthetics that navigate the boundaries of genres and forms, and that do so by virtue of the subject matter and themes they work with; on the other hand, women writers are constantly evaluated in relation to relatively traditionally defined norms and expectations.Unless it is a matter of a handful of sanctioned geniuses, the most valuable literary efforts of women are still preferably accorded to their subject matter, which is more than welcome to break taboos and be daring or controversial. The aesthetic value of prose works is rarely associated with the form of the works.
The Danish author Vita Andersen’s prose poetry was nicknamed knækprosa (broken prose) because the poems were apparently nothing more than narratives made up of lines of uneven length. However, her narrative and characterising poetry is more complex than it initially appears. It is in itself a staging of everyday language, an exhibition of the force, the roles, and the confinement in the lives and speech of the characters, but by no means an artless repetition. The gender roles as a guarantee against a happy interaction between the genders is a central theme in her texts.Charlotte Strandgaard made her debut in 1965, and throughout the 1960s and 70s she wrote a number of collections of poetry and documents that focused on typical problems such as alcoholism, drug addiction, social outcasts, and losers. Her universe is ruled by suffering, misunderstandings between those who want to love each other, guilt, and hopelessness. The tone (and the position) is compassionate, and there is a willingness to find an explanation and a solution. Her adults, like those of Vita Andersen, are wounded children; however, in Charlotte Strandgaard’s world there is a steady insistence on reconciliation and redemption alongside the pain.
Cecilie Løveid’s first three lyrical prose novels make a radical break from the social realist novel dominant in Norway in the 1970s. Løveid insists on her modernist aesthetics, in which fragments, collage, intertextuality, and polyphony are preferred to the codes of realism. Her fundamental affinity is with poetry, and because she remains a modernist poet no matter what genre she approaches, it becomes impossible for her to submit to a social realist idiom.The same is true of Kari Bøge, whose experimental debut work Asmorelda, from 1971, makes a radical break from the realistic narrative tradition and represents one of the first significant attempts at a new female modernist prose in Norway. Her insistence on an ahistorical individualism and an aesthetics of emptiness marks a departure from other women writers of the period around 1970. However, she also embarks on themes that were and are central to feminist-oriented writing: the question of identity, the relationship to the husband, and the relationship to writing.