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Happy endings

Issue 3/1996 | Archives online, Authors

‘In the beginning was a bright lake, and
 the gloomy night moved on the surface 
of the water’, Rosa Liksom begins: from 
the lake of her hitherto urban, grimly
 comic short prose there now rise a
 cloud of mosquitoes, a reindeer and a
 group of Lapp heroes, and lo! Kreisland is born, the cosmos of a new
book and at the same time her first 
novel.

The path of the heroine of Kreisland,
 Impi (‘Maid’ or, more literally, ‘Virgin’),
 Agafiina, from a wretched black ramshackle hovel in remotest Lapland to a
 war hero and, later, a Stakhanovite 
worker in the Soviet Union, is as
 astonishing and rich in adventure as 
Baron Munchhausen’s – or, according
 to her translator, Anselm Hollo, George
 MacDonald Fraser’s Flashman’s. Maid
 Agafiina is a Lapp-Finnish heroine, a 
Jeanne d’Arc who, however, has no 
intentions of ending up on a pyre. More…

The pursuit of happiness

Issue 2/1996 | Archives online, Fiction, Prose

Extracts from the novella Ilo (‘Joy’, Helsinki Media, 1995)

‘The flower is a characteristic feature of the highest group of the plant kingdom – the flowering plants – and is the name given to the association or organs, more or less leaf-like in form, which are concerned with the production of the fruit or seed.’
Encyclopaedia Britannica, 1910

The encyclopedia made us happy. But what was happiness? That the encyclopedia did not say. You had to set out to look for it. Our exploratory party represented the highest achievements of the field: it would be difficult to find a more serious or committed group.

When we waved to the people cheering on the quay, we were overcome by a strange feeling. It was as if we had already arrived. I made the mistake of speaking my thought aloud.

‘It will all end in tears,’ remarked our welfare officer, Mrs Rose. The atmosphere was ruined. What a pity that our quick-witted Doctor Stratelli was not present at that moment! For it was he who solved the problem of happiness.

More…

Around zero o’clock

Issue 2/1996 | Archives online, Fiction, poetry

Poems from the collection Musta oli valkoinen (‘Black was white’, WSOY, 1995). Introduction by Jukka Koskelainen

When?

			         When I learned to pay attention
to unlikely reptiles
to surprising glacier waters
to nightgowned rejections
to wall-mounted assault rifles 
to traveling angels
to lips shaped like promises
to mussels swimming in dreams 
to crashes, rules and funerals
to shady, secret sacristies
to the indecisiveness of dancing shoes
to the immeasurable indifference of looks like bullets 
to spring, myself and seductions slow as clouds
			                                     all of these
					                                         between the words,
was that when the difficulties began?

About the third

To stop waiting, the second step.
To be born of woman. The first.

The price of the word and the moon
	    are determined with the same weightless scales.

The third we don’t know about, don’t ask.

On the ear’s walk

The landscape's deepest melody flowed on
	     over the banks of the resounding Middle Ages.

Do you hear, do you hear it
the way a snail hears,
that snail there who teaches
learns from the earth’s replies, learning
the snail hears and gets there,
gets there for sure
even the slow one gets there,
even the slower one will
then get there, it will
surely get there, into the pot.

 

Herbal wisdom

New churches, old
	                       harmonized organs and repetitions 
like a prayer or a psalm for seven voices. 
Against scant blue
	               a hundred people
believe in pilots and safety belts. The wind
	                                                 just a little too strong.
But my heart it was, that loaded institution 
through four expectations it came 
	                                               here. Exactly here
where you, with both hands, 
	               almost inaudibly
intended to break
	              the fragrant life of a sprig of thyme.
That soundless break, the speech of dust, said all
			                                  I understood.

Around zero o’clock

Just be the shape of an angel, be, be 
	                be, be a screeching
   hatful of sleepless night	it dresses 
even the seagulls in diver's suits, be
	      be lazy intellect and come
to bed
be manager of nightmare
	  and conqueror of desire

	to say
Be the disease of saying 	Be the lifelong remedy
	   which 	                        whether you take it or not
	              certainly kills
Be the one who no longer is
	     a dab of the freedom of the void, a flight of three strides
out of thought's night	                    be

Because I’m jading

Translated by Anselm Hollo

Life is elsewhere, but you can get there by taxi

Issue 2/1996 | Archives online, Authors, Essays, Interviews

Jari Tervo interviews himself, avoiding the subject of his new novel, Pyhiesi yhteyteen (‘Numbered among your saints’)

These light mornings, the writer Jari Tervo bubbles over with springtime after he has written a page or two of his new book and is getting ready to walk to the Thirsty Camel to enjoy a pub quiz, alongside about two pints of well-brewed beer. The birds have come back like boomerangs.

On his way to the shadow of the beer­tap, some people greet him, others stare shyly. The shy starers remind him of the television quiz. Those who do not pay any attention to him are thoroughly acquainted with his work. Tervo has written a Rovaniemi sequence – three novels, a collection of short stories and a collection of poetry – about his home town. Rovaniemi, located on the Arctic Circle, is, for these southerly citizens of Espoo [next to Helsinki], as exotic, remote and startling a place as Haiti, but snowier. More…

The way to heaven

Issue 2/1996 | Archives online, Fiction

Extracts from the novel Pyhiesi yhteyteen (‘Numbered among your saints’, WSOY, 1995). Interview with Jari Tervo by Jari Tervo

The wind sighs. The sound comes about when a cloud drives through a tree. I hear birds, as a young girl I could identify the species from the song; now I can no longer see them properly, and hear only distant song. Whether sparrow, titmouse or lark. Exact names, too, tend to disappear. Sometimes, in the old people’s home, I find myself staring at my food, what it is served on, and can’t get the name into my head. The sun came to my grandson’s funeral. It rose from the grave into which my little Marzipan will be lowered. I don’t remember what the weather did when my husband was buried.

A plate. Food is served on a plate. There are deep plates and shallow plates; soups are ladled into the deep ones. More…

Poetry and speech

Issue 2/1996 | Archives online, Authors

The poet is condemned to language. He has been forced to abandon the mysterious union between language and reality. In retum, he wants his Iines, at least, to solidify into objects, part of the order of beings, to be like a ready-carved statue. But this does not happen. Language has its own caprice, meanderings and underground life.

The poems of Lauri Otonkoski (born 1959) are not like sculptures. Sometimes they do not even seem like beings among other beings. His poems gape open at the edges, and their ambiguous content emerges to question the composition of the extemal form. Metamorphosis is not the poems’ theme, but their nature: obscure at their limits and constantly changing in form, their reference is far beyond themselves, to a region where the reader must struggle with disturbing shadows and unfinished constructions. More…

Correspondence

Issue 1/1996 | Archives online, Fiction, Prose

A short story from Resa med lätt bagage (‘Travelling light’, Schildts, 1984)

Dear Jansson san

I am a Japanese girl.
I am thirteen years and two months old.
I will be fourteen on the eighth of March.
I have a mother and two little sisters.
I have read everything that you have written.
When I have read it I read it again.
Then I think about snow and being allowed to be by myself.
Tokyo is a very big city.
I am learning English and I am a very diligent student.
I love you.
I dream of one day being as old as you and as wise.
I have a lot of dreams.
There is a Japanese poem called haiku.
I will send you a haiku.
It is about cherry-blossoms.
Do you live in a big forest?
Forgive me for writing to you.
I wish you health and long life.

Tamiko Atsumi More…

Plain sailing

Issue 1/1996 | Archives online, Fiction, Prose

An extract from Alastalon salissa (‘In Alastalo’s parlour’, 1933). Introduction by Kai Laitinen

A letter from the translator:

Dear Editors,

Reluctantly (I really have tried) I have been driven to conclude that Alastalon salissa is untranslatable, except perhaps by a fanatical Volter Kilpi enthusiast who is prepared to devote a lifetime to it. To mention only one of the difficulties, there is no English equivalent to the style of the Finnish ‘proverbs’ (real or imaginary) with which the main character Alastalo’s thoughts are so thickly larded. Add to this the richness and, yes, eccen­tricity, of Kilpi’s vocabulary, and the unfamiliarity of much of the subject-matter, centred as it is on the interests of a sea­ going community that hardly exists any longer, even on the islands, and you have a text that is full of pitfalls for the translator. As for the humour, I’m sorry to say that it depends so much on the idiom and presentation that it doesn’t come over at all. If I did any more, I’m afraid it would just have to be a laborious paraphrase, and I don’t think I’m capable of making it effective, or even readable, in English.

Apart from that, although I’m very grateful for your explanations of the many unfamiliar words and phrases, I’m very unwilling to commit myself to the translation of any of them on the basis of a mere ‘gloss’ (technical word): I need to know the associations, and possible sound-echoes, of every one of them before I can be sure of getting it right. And getting it right affects the rhythm of every sentence: it’s not just a matter of filling in blanks with ‘equivalents’ provided by someone else.

I’ve no objection to your using my version of the opening pages. If you decide to follow it with some kind of comment, do borrow, if you need to, from my remarks above, giving the translator’s point of view. Sorry to have failed you so badly.

Yours, David Barrett More…

On not translating Volter Kilpi

Issue 1/1996 | Archives online, Authors, Reviews

Volter Kilpi’s classic novel Alastalon salissa (‘In Alastalo’s parlour’, 1933) has a reputation as a ‘difficult’ book. A Swedish translation is finally ready, but no one has ever succeeded in translating the work into English. Books from Finland decided to commission an extract – and had to admit defeat

‘Volter Kilpi is no good for people with weak lungs,’ said the poet Lauri Viita, some time toward the end of the 1940s. ‘Reading him, you get out of breath straight away.’ Kilpi’s major work, Alastalon salissa (‘In Alastalo’s parlour’) will take even an experienced reader two weeks, wrote another, older poet, Aaro Hellaakoski, in a 1937 essay.

Both were right. If one begins to read Volter Kilpi’s extended novel Alastalon salissa (1933) in the spirit of an entertainment or a detective novel, one soon tires. One can negotiate the slow tempo of its text, its long, curlicued sentences and wildly original vocabulary only by applying the brakes and pausing from time to time. For myself, I have found the two­week reading period prescribed by Hellaakoski about right. Kilpi is a demanding writer: every word must be read, the path of each sentence followed to the end. More…

Dreams so strong

Issue 1/1996 | Archives online, Fiction, poetry

Poems from Regnets uråldriga sätt att regna (‘The rain’s primordial way of raining’, Schildts, 1993)

the necessity of low tide
the necessity of still, mud-grey days
where the bird’s egg and your memory hide in the sand of the shy

the weak light
made of molten wind

and our faces deep inside the shadow.
we sleep: we dream a dream of sprouting shoots,
of the red heads of the newborn children
that palpitate beneath the ice –

More…

The bully

Issue 1/1996 | Archives online, Fiction, Prose

A short story from Tulen jano (‘Thirst for fire’, Gummerus, 1995); power relations between doctor and patient in a situation where the past will not leave either alone

Nurmikallio, an apparently ordinary middle-aged man, came back again and again, and it seemed as if there would be no end to his story.

I listened to him patiently at first. Repeatedly he returned to the same subject. The form and emphases of the story changed, new memories emerged, but the gist was the same: he had failed in his life and believed that the root cause of his failure was a particular person, a childhood class-mate, a bully.

On the basis of his first visit I wrote a short character-sketch:

Intellectually average. Talkative, but by his own account solitary. Difficulties in human relationships, separated, no children. Electrician by profession, says he likes his work. Biggest problem obsessive attachment to childhood traumas.

And that’s all, I thought. But he was not to be so easily dismissed.

More…

Facing catastrophe

Issue 4/1995 | Archives online, Authors

Mirjam Tuominen (1914–1967) was 
one of the stronger, yet relatively
 neglected voices of European modern
ism. Had she lived in France or Germany and had belonged to the literary
 traditions of either of those countries 
(traditions which she admired and 
knew well), one imagines that her fame
 might have spread more widely.

As it was, belonging to the Swedish-
speaking minority in Finland, Mirjam
 Tuominen wrote her works, both 
poetry and prose, in Swedish (and, very occasionally, in Finnish). Though they 
show the influence of the Finland-
Swedish literary tradition, in particular
 that of Edith Södergran, they also
 demonstrate that Mirjam Tuominen
 had read very widely outside that
 tradition – the influence of other 
Nordic writers such as Karin Boye and
 Cora Sandel is evident, but so also is
t hat of Friedrich Hölderlin, Marcel
 Proust, Rainer Maria Rilke, Franz Kafka,
 Simone Weil and Sigmund Freud. More…

Original Inhabitant

Issue 4/1995 | Archives online, Fiction, poetry

Poems from Kuka puhuu (‘Who’s speaking’, Otava, 1994). Introduction by Tero Liukkonen

They lie in the flurrying snow, languid as a naked woman taking a shower,
the mountains, their luscious thighs ajar; under snow-white skin,
confident rib-tongues curve down to the gully
where a lone skier slides and struggles in unbroken snow

A dense stand of spruce grows from her thighs, moonlight
shimmers on her flank, her hair is green

A hundred miles long, face hidden under the covers, out of the smoke
droplets emerge

slow is her breath in the wind, waiting for spring, under the snow

No one can conquer that vision, move it, bury it,
stitch it shut

she has come without being invited, living rooms grow inside her,
mice rub their whiskers in her hiding places,
obedient, the sun sets behind her, opens the dark door More…

In the Metro

Issue 4/1995 | Archives online, Fiction, Prose

Extract from the collection of short stories Tidig tvekan (‘Early doubt’, 1938). Introduction by David McDuff

– Mademoiselle! You’re late this evening. Was there overtime again? I’ve put a newspaper aside for you. I saw you were in such a hurry in the morning that you didn’t have time to take it. The fashion page is in today, so I thought you’d like to see it. There’s nothing to thank me for, nothing at all. You see, I seem to have got a bit of a secret liking for you. One gradually learns to pick out all the people who come this way in the morning and go back again at night. And you, you see, I noticed you right from the very first day. You looked so frightened, and then you always smiled at me in such a friendly way. I got the idea that you were someone who wasn’t at home here and who was possibly using the underground in the morning rush hour for the first time. More…

Formal logic

Issue 4/1995 | Archives online, Authors, Interviews, Reviews

Maarit Verronen’s novel, Pimeästä maasta (‘Out of the Land of Darkness’), inhabits the borderland between science fiction and fantasy. It is also a classic story of the demands of integrity in a harsh and prescriptive world. It is set daringly on the far side of time and place: the name of its main character is Ulthyraja Tharabereghist, from which one can already deduce that the novel does not deal with the real world. Pimeästä maasta is a cleverly constructed novel which surprises its reader in many different ways. The first surprise is that Verronen does not define her main character’s gender. The structure of the Finnish language, in which the personal pronoun does not reveal the gender of the person to whom it refers, makes this possible. More…