29 November 2013 | This 'n' that
For 41 years, from 1967 to 2008, Books from Finland was a printed journal. In 1976, after a decade of existence as not much more than a pamphlet, it began to expand: with more editorial staff and more pages, hundreds of Finnish books and authors were featured in the following decades.
Those texts remain archive treasures.
In 1998 Books from Finland went online, partially: we set up a website of our own, offering a few samples of text from each printed issue. In January 2009 Books from Finland became an online journal in its entirety, now accessible to everyone.
We then decided that we would digitise material from the printed volumes of 1976 to 2008: samples of fiction and related interviews, reviews, and articles should become part of the new website.
The process took a couple of years – thank you, diligent Finnish Literature Exchange (FILI) interns (and Johanna Sillanpää) : Claire Saint-Germain, Bruna di Pastena, Merethe Kristiansen, Franziska Fiebig, Saara Wille and Claire Dickenson! – and now it’s time to start publishing the results. We’re going to do so volume by volume, going backwards.
The first to go online was the fiction published in 2008: among the authors are the poets Tomi Kontio and Rakel Liehu and prose writers Helvi Hämäläinen (1907–1998), Sirpa Kähkönen, Maritta Lintunen, Arne Nevanlinna, Hagar Olsson (1893–1979), Juhani Peltonen (1941–1998) and Mika Waltari (1908–1979).
To introduce these new texts, we will feature a box on our website, entitled New from the archives, where links will take you to the new material. The digitised texts work in the same way as the rest of the posts, using the website’s search engine (although for technical reasons we have been unable to include all the original pictures).
By the time we reach the year 1976, there will be texts by more than 400 fiction authors on our website. We are proud and delighted that the printed treasures of past decades – the best of the Finnish literature published over the period – will be available to all readers of Books from Finland.
The small world of Finnish fiction will be even more accessible to the great English-speaking universe. Read on!
In an era of ‘liveblogging’‚ we are all storytellers. But what’s the story, asks Teemu Manninen
One score of years ago, when the internet was new, the cultural critics of the time were fond saying that it would usher in a new utopia of free distribution of information: we would be able to read everything, know everything and share everything anywhere and every day.
Truly, they told us, we would become enriched by the internet to the point of not knowing what to do with all that wealth of knowledge, the amount of connections between us and the ever-increasing online availability of anyone with everyone, every waking hour.
Now that we really do have this always-on connectivity, you will indeed be available every waking hour: you will update your status, check your inbox, post pics and be available for chatting, texting, a quick email and a message or two, just to make sure no one is offended by your unreachability, since – from experience – a week’s worth of not tweeting or facebooking can make someone think that something serious has happened, or that you don’t even exist anymore. More…
8 November 2013 | Letter from the Editors
More and more new Finnish fiction is seeing the light of day. Does quantity equal quality?
Fewer and fewer critical evaluations of those fiction books are published in the traditional print media. Is criticism needed any more?
At the Helsinki Book Fair in late October the latest issue of the weekly magazine Suomen Kuvalehti was removed from the stand of its publisher, Otavamedia, by the chief executive officer of Otava Publishing Company Ltd. Both belong to the same Otava Group.
The cover featured a drawing of a book in the form of a toilet roll, referring to an article entitled ‘The ailing novel’, by Riitta Kylänpää, in which new Finnish fiction and literary life were discussed, with a critical tone at places. CEO Pasi Vainio said he made the decision out of respect for the work of Finnish authors.
His action was consequently assessed by the author Elina Hirvonen who, in her column in the Helsingin Sanomat newspaper, criticised the decision. ‘The attempt to conceal the article was incomprehensible. Authors are not children. The Finnish novel is not doing so badly that it collapses if somebody criticises it. Even a rambling reflection is better for literature than the same old articles about the same old writers’ personal lives.’ More…
17 October 2013 | This 'n' that
The Finnish book world is preparing for the big event of ‘F14’: Finland will appear as Guest of Honour at the Frankfurt Book Fair in October next year.
The slogan for this enterprise is Finnland. Cool.
The coordinating organ is FILI, the Finnish Literature Exchange, a part of the Finnish Literature Society. Co-operating with FILI are three ministries, literary organisations and publishers, the Finnish Embassy and Finnland-Institut in Berlin and the Goethe-Institut in Helsinki.
Last week a large proportion of the FILI staff – who now need to keep their cool for the next busy year – went to Frankfurt, and on 10 October (aptly, the memorial day of the national author Aleksis Kivi and also Finnish Literature Day) the press conference was opened by the Finnish Minister of Culture and Sport, Paavo Arhinmäki. On 13 October the 2013 Guest of Honour, Brazil, passed the baton to Finland. (More photographs here.)
The world’s largest book fair, Frankfurt, attracts some 300,000 visitors each year. Accessible to both professionals and the general public, the fair is also the biggest cultural event in Germany.
The Guest of Honour countries receive a vast amount of attention in the media, and the number of new translations from the respective languages into German, as well as other languages, will increase.
The total Finnish budget for the years 2010–2015 is approximately four million euros, half of it money from the government. And the mission? Here are some warm words from the cool FILI agenda:
‘Why are Finns reading so much? Why are Finns so good at reading? Because we love it. Because reading plays such an important role in everyday life.
‘And because it is so important in Finland that everybody has access to reading – regardless of whether you are male or female, where you live, where you work, what your education or talent is. Fun, everyday life and for everyone – these are the main themes of the satellite programme for the Guest of Honour at the Frankfurt Book Fair 2014.’
12 April 2013 | Letter from the Editors
Finnish is spoken mostly in Finland, whereas English is spoken everywhere. A Finnish writer, however, doesn’t necessarily write in any of Finland’s three national languages (Finnish, Swedish and Sámi).
What is a Finnish book, then – and (something of particular interest to us here at the Books from Finland offices) is it the same thing as a book from Finland? Let’s take a look at a few examples of how languages – and fatherlands – fluctuate.
Hannu Rajaniemi has Finnish as his mother tongue, but has written two sci-fi novels in English, which were published in England. A Doctor in Physics specialising in string theory, Rajaniemi works at Edinburgh University and lives in Scotland. His books have been translated into Finnish; the second one, The Fractal Prince / Fraktaaliruhtinas (2012) was in March 2013 on fifth place on the list of the best-selling books in Finland. (Here, a sample from his first book, The Quantum Thief, 2011, Gollancz.)
Emmi Itäranta, a Finn who lives in Canterbury, England, published her first novel, Teemestarin tarina (‘The tea master’s book’, Teos, 2012), in Finland. She rewrote it in English and it will be published as Memory of Water in England, the United States and Australia (HarperCollins Voyager) in 2014. Translations into six other languages will follow. More…
28 February 2013 | This 'n' that
Translations of Finnish literature into English are booming, according to a new website set up by the Finnish-English Literature Translation Co-operative, or FELT.
Or at least there is a tiny boom, as translator Lola Rogers puts it in her contribution to ‘Reflections’ on the FELT website.
Whereas less than 20 translations were published between 1992 and 2002, the number of translations published in the decade from 2002 was more than 34.The reason, according to FELT, is the new availability of qualified literary translators, whom the new website has been created to represent; each of them (David Hackston, Emily Jeremiah, Kristian London, Lola Rogers, Owen Witesman) now have two or more published Finnish works of fiction under their belts.
A significant factor has been the training events organised by FILI, Finnish Literature Exchange, publisher of this magazine – and, we might dare to say, Books from Finland itself, which offers translators a forum (as well as payment) for translations of extracts from interesting or significant new work.
The FELT website is worth a visit by anyone with an interest in Finnish literature – or translation. As well as details of published and forthcoming work, there is a collection of essays on the art of translating particular works, from Kristina Carlson (also ex-Editor-in-Chief of Books from Finland) to the novelist Asko Sahlberg and the modernist poet Eeva-Liisa Manner.
Art that requires navigation systems? Whatever next. In his column poet and writer Teemu Manninen wonders whether literature can function as ‘locative’. How to blend technology and art? Perhaps literature too might expand from the printed word
What if the Romantic poet John Keats had never published his poetry in print – if his works had been distributed only in manuscript form and read only by his friends and acquaintances? Had that been the case, the only way of hearing his poetry would have been at the salons and informal clubs that took place in literary people’s homes, at coffee houses, or other meeting places.
Keats might not even have, most likely, been in attendance himself, but maybe someone had a copy of a copy of a fragment of a poem that they might read to the gathered intellectuals and gentlefolk. You would have to have known the right people, have to have been at the right place at the right time to hear ‘Ode to a Nightingale’ read for the first and perhaps for the last time ever.
Or, what if Joyce had never intended for Ulysses to be published for the great reading public at all? What if, instead, he had left copies of each chapter around Dublin in the places where those chapters take place; what if, page by page, he had distributed his work in the actual locations of the events as they happened in his imagination? More…
20 September 2012 | Letter from the Editors
In our last Letter, ‘Art for art’s sake’, we pondered how the efforts of making art (or design) profitable and exportable result, in public discourse, in the expectation that art (or design) should aid the development of business.
Not a lot is talked about how business can help art.
Art of course, is in essence ‘no use’, art doesn’t exist in order to increase the GDP (although nothing prevents it from doing so, of course).
The Finnish poet-author-translator Pentti Saarikoski (1937–1983) argued that art needs no apologies whatsoever: ‘What’s wrong with “Art for art’s sake”? – any more than bread for bread’s sake?
‘Art is art and bread is bread, and people need both if they are to have a balanced diet.’
Defining what is entertainment is and what is art is not always significant or necessary. The boundaries can be artificial, or superficial. But occasionally one wonders where the makers of ‘entertainment’ think it’s going. Entertainment for entertainment’s sake?
The Finnish Broadcasting Company (YLE) recently announced a new radio play series. It is, it said, a series that differs stylistically from traditional radio plays; it seeks a new and younger audience. The news item was headlined: ‘The new radio play drips with sex, violence and horror.’ In a television interview the director said that the radio dramaturge who had commissioned the series had described what the (new, younger) listeners should experience: ‘They should feel thrilled and horny all the time.’ More…
3 May 2012 | Reviews
Sanojen talossa. Suomalaisen Kirjallisuuden Seura 1890-luvulta talvisotaan
[In the house of words. The Finnish Literature Society from the 1890s to the Winter War]
Helsinki: Suomalaisen Kirjallisuuden Seura, 2012. 582 p., ill.
The Finnish Literature Society has, throughout its history, played a multiplicity of roles: fiction publisher, research institute specialising in folklore studies, organiser of mass campaigns in support of national projects, literary gatekeeper, learned society, controller of language development.
The priorities of these areas of interest have changed from decade to decade, so Kai Häggman has taken on an exceptionally difficult subject to describe. He has, however, succeeded brilliantly in gathering the different threads together, using as as lowest common denominator the ideas of nationalism and nation whose role in global modernisation and European history have been studied, among others, by the British historians Ernest Gellner and Eric Hobsbawm. More…
3 May 2012 | In the news
The twenty-third of April – Shakespeare’s birthday – is the international day of the book and the rose. The tradition derives, however, not from England but from Barcelona, where the tradition was for men to give women roses while women gave men books.
This year Finnish booksellers decided to celebrate the occasion by publishing a new novel which was given for free to all customers who made a purchase worth €10. This was the only way to get hold of a copy; the print run was 3,000 copies.
The chosen work was a new novel by Tuomas Kyrö, entitled Miniä (‘Daughter-in-law’). The narrator is the daughter-in-law of the main character of Kyrö’s two popular novels, Mielensäpahoittaja (‘Taking offence’) and Mielensäpahoittaja ja ruskeakastike (‘Taking offence: the brown sauce’). The grumpy old man from the country comes to stay with his son and his daughter-in-law in the capital – which inevitably results in practical (and mainly comical) discordance of various sorts.
25 April 2012 | In the news
After falling out with her original publisher, WSOY, in 2010, author Sofi Oksanen – whose third novel, Puhdistus (Purge, 2008), has become an international best-seller – has founded a new publishing company, Silberfeldt, in 2011, with the aim of publishing paperback editions of her own books. Its first release was a paperback version of Oksanen’s second novel, Baby Jane.
Oksanen’s new novel, Kun kyyhkyset katosivat (‘When the pigeons disappeared’), again set in Estonia, will appear this autumn, published by Like (a company owned by Finnish publishing giant Otava).
However, in April Silberfeldt published a new, one-volume edition of the autobiographical novel The Gulag Archipelago by the Nobel Prize-winning author Alexandr Solzhenitsyn. This massive book was first published in the West in 1973, in the Soviet Union in 1989.
A Finnish translation was published between 1974 and 1978. Back in those days of Cold War self-censorship, Finnish publishers felt unable to take up the controversial book, and the first volume was eventually printed in Sweden. The work, finally published in three volumes, has long since been unavailable.
This time the 3,000 new copies of Solzhenitsyn’s tome sold out in a few days; a second printing is coming up soon. Oksanen regards the work as a classic that should be available to Finnish readers.
Sacred spaces, repositories of free speech, places of healing? Teemu Manninen awaits the day when libraries become virtual, enabling anybody to visit them, without having to travel across land and sea
The Bodleian Library in Oxford, the Vatican Library, the Bibliotheque Nationale in Paris, New York Public Library, the British Museum Reading Room, the Real Gabinete Portugues De Leitura in Rio De Janeiro, the Library of Congress and the National Library of Finland.
What do all of these have in common, except the obvious fact that they are all famous libraries? To put it another way: why are these famous libraries so famous?
It is not because they have books in them, although that has become one of the main tasks of the library system in the modern world. But a library is not simply an archive. If we in the West are a culture of the book – a culture of the freedom of information and expression – then a library is the architectural incarnation of our way of life: a church built for reading. More…
9 March 2012 | This 'n' that
Sofi Oksanen’s Purge, an unparalleled Finnish literary sensation, is running in a production by Arcola Theatre in London, from 22 February to 24 March.
First premiered at the Finnish National Theatre in Helsinki in 2007, Puhdistus, to give it its Finnish title, was subsequently reworked by Oksanen (born 1977) into a novel – her third.
Puhdistus retells the story of her play about two Estonian women, moving through the past in flashbacks between 1939 and 1992. Aliide has experienced the horrors of the Stalin era and the deportation of Estonians to Siberia, but has to cope with the guilt of opportunism and even manslaughter. One night in 1992 she finds a young woman in the courtyard of her house; Zara has just escaped from the claws of members of the Russian mafia who held her as a sex slave. (Maya Jaggi reviewed the novel in London’s Guardian newspaper.) More…
16 February 2012 | Letter from the Editors
Where is Books from Finland located?
In the old days, the answer was simple, although not unambiguous. Books came from its office in central Helsinki; it was written in various locations in Finland and abroad, and translated mainly in England and the United States; and it was published in the small town of Vammala, about 200 kilometres north of Helsinki.
It spread, in multiple paper copies, to readers throughout the world, to find its place on desks, on bedside tables, in briefcases and handbags, propping up table-legs or holding doors open – in London, England, Connecticut, New England, with a few in Paris, France, and Paris, Texas, maybe. More…
The future of book publishing is not easy to predict. Books for children and young people are still produced in large quantities, and there’s no shortage of quality, either. But will the books find their readers? Päivi Heikkilä-Halttunen takes a look at the trends of 2011, while in the review section we’ve picked out a selection of last year’s best titles
The supply of titles for children and young adults is greater than ever, but the attention the Finnish print media pays to them continues to diminish. Writing about this genre appears increasingly ghettoised, featuring only in specialist publications or internet chat rooms and blogs.
Yet, defying the prospect of a recession, Suomen lastenkirjakauppa, a bookshop specialising in children’s literature, was re-established in central Helsinki in autumn 2011, following a ten-year break. Pro lastenkirjallisuus – Pro barnlitteraturen ry, the Finnish society for the promotion of children’s literature, has been making efforts to found a Helsinki centre dedicated to writing and illustration for children. The society made progress in this ambition when it organised a pilot event in May 2011. More…