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Things

Issue 1/1997 | Archives online, Fiction, Prose

A short sory from Kaunis nimi (‘A lovely name’, Otava, 1996). Raija Siekkinen’s limpid prose is at its best when she explores the complex feelings that lie behind the events of everyday life. Here objects are indicators of emotions, memory and loss, and what is most important is left unsaid

And where was the pen, the fountain pen, black, chubby; the one which pumped the ink straight up from the bottle?

There were three gold-coloured bands on the cap of the pen, and its nib, too, was golden, It had been given to her in a case lined with black velvet, and there was a groove for the pen, and a depression for the ink-bottle; and the bottle was narrow -necked, with curving sides, and the ink in it was not bright blue, but dark, so that words written in it looked old, written a long time ago; one forgot that one had written them oneself, one read them like the words of a stranger.

She remembered the pen, and began slowly to wake up. More…

Unique moments

Issue 1/1997 | Archives online, Authors, Reviews

‘There is no everyday reality. There is not a moment that is not unique, manyfaceted, full of what has happened, of expectations and apprehensions, of hidden connections with the surrounding world, not a moment that is not hard to penetrate and worthy of attention,’ wrote Solveig von Schoultz (1907–1996) in her short autobiographical book Längs vattenbrynet (‘Along the water’s edge’, 1992). More…

An infinite number of days

Issue 1/1997 | Archives online, Fiction, poetry

Poems from Molnsommar (‘Cloud summer’, Schildts, 1996). Introduction by Tuva Korsström

Old man

He almost merely slept
and while he slept
his life was accomplished.
Pieces slid out
were examined and fitted together
and while he slept
he was made ready. More…

Andersson now

Issue 1/1997 | Archives online, Authors, Reviews

I have been translating Claes Andersson’s poetry for more than 15 years. In September 1997 Sun & Moon Press brought out What Became Words, my chronological selection of his work, which includes poems from of the 15 books he published from 1962 to 1993. A month or so later, I received En lycklig mänska (‘A happy person’), one of Finland’s nominees for Shoveled snow, played with the children, the Nordic Council Prize. I want to go back to where I started; for it seems that many of my long literary relationships have begun in arbitrary (or fortuitous) ways. More…

I am a happy person

Issue 1/1997 | Archives online, Fiction, poetry

Poems from En lycklig mänska (‘A happy person’, Söderströms, 1996). Introduction by Rika Lesser

Why shouldn't Johann Sebastian Bach be good enough
      even in this my 59th summer.
I contemplate the apple tree in the middle of the field. 
The continuo branches out just above the earth into four
      trunks, which, in turn, divide
into arms more slender, where the fruits ripen.
The foliage patterns the sky, hands plait the voices
      into a basket.
Under the earth, where the roots rehearse, I wait for
      the succulent, faintly sour fruit.

*  More...

Winged fever

Issue 4/1996 | Archives online, Authors, Essays

After the collective and individual catastrophe of the Second World War, doubts notoriously arose as to whether poetry was possible ‘from this time on’. Theodor W. Adorno declared that writing poetry after Auschwitz was impossible. And Tadeusz Rozewicz said he wrote unpoetry for survivors, for the terrorised, for the dead. Poetry was, for him, ‘borrowed scraps of words, the uninteresting words of the great graveyard’. This is a harsh judgement. More than any earlier written word, post-war poetry was confronted by destruction, hunger and, contrariwise, rampant overconsumption.

Many poets of the Sixties and Seventies resolved these questions by asserting that poetry was in fact an anachronism; anyone continuing to write poetry must forget individual alienation, word-magic and music. Poems should be made by abandoning metre and conveying politically correct truth. In making generalisations about reality – while unable to differentiate it from propaganda – these writers divagated from reality, which is distinguished from utopia by its multiplicity and complexity. Poetic modes as varied as the low mimetic, propaganda poetry, ‘concrete poetry’ and even nature poetry thus managed to become foreign to reality. Themes like participation, progress and liberation frequently led to bigotry, utopian cloud-cuckoolands and blind man’s buff with the self. As Arto Melleri’s allegory puts it, the ‘swankeepers’ vainly ‘fish the shattering waves for reflections’. More…

In the land of the living

Issue 4/1996 | Archives online, Fiction, poetry

Poems by Arto Melleri. Introduction by Maris Gothóni

The airship Italia

Farewell, darlings,
General Nobile's sailing in his airship
to a glittering death...
whoever knows the journey's end
as he sets out is there already,
wafted on his wing-stubs;
farewell, doubters smiles on your lips
                                          like the imprints of horse-bits:
'he'll never get there this way'
'get there' – as if 'there' were
some place;
in one day you can only manage a day's journey,
it's more realistic, far more, to get the measure
                                          of Perdition;
farewell, darlings,
I'm off with him, his scrivener, I'm stretching
over the verge of tears towards boundless laughter,
the dignified business of tarring and feathering,
I'm making notes: this is a dream, a single night's
                                         eternity,
a sound mind's storming of the Bastille;
farewell, you who always know better
                                   what should be done than the doers, and how,
you don't do, you know, you put your hat on a shelf
called History, 
General Nobile's flying over the craters of history
northwards, northwards, and the sun's
                                   scoopful of molten tin
is about to splash in the cold ocean,
and the moon's a ball of camphor-soaked cotton wool
wiping the smoking sky,
farewell, darlings, there, flashing ahead,
are the crystal shores of Ultima Thule

From Ilmalaiva Italia (‘Airship Italia’, 1980) More…

Between shadow and sunlight

Issue 4/1996 | Archives online, Fiction, poetry

Poems from Homecoming (translated by David McDuff, published by Carcanet Press, 1993)

It was hopeless trying to keep the window on the yard side clean
Perhaps it was an advantage not to see clearly,
roofs and chimneys, indeed, even the sky became friendly
seen from this renunciation. When it rained
the water formed streets of narrow drops, almost silver-coloured.
I considered them closely.
What use I should have for them I did not know.

*

More…

Out of this world

Issue 4/1996 | Archives online, Fiction, Prose

Extracts from the novel Virkamatka (‘Business travel’, Otava, 1996). Introduction by Jyrki Kiiskinen

I spent a couple of weeks alone at home that summer. My brother was at camp and my father on a business trip. Bored one rainy day, I opened up their last game on the computer. They had been going on about it for weeks.

I began from the beginning, A splendid start: texts backed by imaginative visions, Then darkness. In the middle of it a gold-coloured, glimmering dot. Nothing else. I waited for a long time. Nothing else, I waited. Nothing. Then I pressed the computer’s space-bar. The dot exploded and the explosion filled the entire screen. From its centre swarmed familiar patterns, Diagrams of atomic nuclei, electrons, radiation. More…

Fair game

Issue 4/1996 | Archives online, Authors

“In today’s world, the car is a male
 environment, a tool with which he
 controls the world,’ commented Heimo
 Susi (born 1933) in a recent interview 
in Helsingin Sanomat in connection with 
his first novel Virkamatka (‘Business 
travel’, Otava, 1996).
’And then the car sort of breaks down at 
the end of the book.’

The action of Susi’s novel takes place 
for the most part in a brand-new Opel
 Vectra; at the end of the book, the car is 
in collision with an elk. In traditional 
Finnish style, nature is always stronger 
than humankind, technology and 
civilisation. The book is a mischievous
 account of a department head in the
 ministry of labour on a wild-goose chase up and down the country: he sits 
in meetings, lectures in employment 
bureaus and shows on the overhead
 projector diagrams wittily illustrated by 
his daughter. More…

How I saved the world for communism

Issue 3/1996 | Archives online, Fiction, Prose

Extracts from the novel Kreisland (WSOY, 1996). Rosa Liksom’s first novel is a picaresque story of a heroine whose adventures range through Finland, Soviet Russia and America. Introduction by Soila Lehtonen

Maid Agafiina: Got myself some shiny black rubber boots, the kind with the red felt lining, and a colorful crepe de chine dress and a rayon coat, and while shopping for all that I checked out the four wonders of Moscow: a bell that doesn’t ring, a cannon you can’t fire, a ruler who doesn’t speak, and money that doesn’t stink.

In no time at all I made up a new personality, learned the language real good, and obtained a Soviet citizen’s passport. I was totally excited by everything I’d seen. My cheeks were as red as the flag. I wanted to find out about everything and see every achievement of this huge Soviet land. More…

Nautilus

Issue 3/1996 | Archives online, Fiction, poetry

Poems from Erotus (WSOY, 1995). Introduction by Lauri Otonkoski

As the future First Mate dreams, embryonic sails in his eyes
and runs, a rat, from one ship to the next in the harbor, so I saw my image in the imago
pushing out of its chrysalis under my father’s hand that held the lens.
His other hand rested on my shoulder like a wing,
‘Resurrection!’ he cried out, and I felt my heart tumble.
And there it was: Parnassius Apollo or Parnassius Mnemosyne mnemosyne
on the glass slide, straightening its flying gear,
and a moment later, a narcotized, trembling piece of jewelry.
I handed my father a shiny pin, and he pushed it skillfully
through the body. Daylight adhered to the collection.
For the duration of the blink of an eye, all butterfly wings breathed. More…

A day in the life

Issue 3/1996 | Archives online, Fiction, Prose

Extracts from the novel Drakarna över Helsingfors (‘Kites over Helsingfors’, Söderströms, 1996). Introduction by Jyrki Kiiskinen

It is December 1970, it is Friday afternoon and Helsingfors is shrouded in a damp, leaden-grey fog when Jacke Pettersson, trainee electrician at Mid-Nyland Vocational College, signs a receipt for his driving licence at Vallgård Police Station.

At home in the flat in Svenska Gården in Munkshöjden: the very next evening Jacke sneaks his hand down into his father’s, typesetter K-G. Pettersson’s, overcoat pocket. It is getting on for 9 o’clock and KG is sitting deeply submerged in his favourite armchair, staring concentratedly at the premiere of a new show.

Six out of forty
make it every week

sings a bright girl’s voice.

Then: the Official Supervisors and their solemn ‘Good evening’. And then: the blonde girl in her mini-dress and high boots, the glass holder with its plastic balls, the plastic balls with numbers on. More…

tulip, ‘tulip’, and Tulip

Issue 3/1996 | Archives online, Authors

There are times when, on first reading, an entire collection of poems seems anchored to a single line. The overture to Annukka Peura’s Erotus* (1995) ends with such a crystallized moment:

I pulled the curtains aside,
and there, behind the green-
speckled glass,
dazzling,

was the 20th century.

This expansive sigh became instantly memorable; the landscape it offers is so vast. Most works of art have, in addition to their title, some detail, line, or moment for which a space is reserved in one’s memory, privileged above the work’s other components. For me, Mahler’s Fifth Symphony is represented by the adagietto’s veiled, secretive life, the cathedral at Chartres consists neither of the enormity of its towers nor the abundance of its rosette, but of the sacristy’s specific odor of sacral dust. More…

Goodbye to all that

Issue 3/1996 | Archives online, Authors

It is a couple of years since the appearance of Monika Fagerholm’s Underbara kvinnor vid vatten (’Wonderful women at the sea’), which has been bought by a number of foreign publishers. Now Fagerholm’s nostalgic and accurated description of the moodscape of the 1960s has received a companion volume which records the objects of the 1970s and opens the dark record and clothes cupboards of a different young person.

Kjell Westö’s Drakama över Helsingfors (’Kites over Helsingfors’) is, nevertheless, more extended in its trajectory than Fagerholm’s novel because it reveals how the events of the 1990s were included in the values of the 1970s and were born directly from them. More…