Search results for "2011/04/2010/05/2009/10/writing-and-power"

Indifference under the axe

9 March 2012 | Essays, Non-fiction

In the forest: an illustration by Leena Krohn for her book, Sfinksi vai robotti (Sphinx or robot, 1999)

The original virtual reality resides within ourselves, in our brains; the virtual reality of the Internet is but a simulation. In this essay, Leena Krohn takes a look at the ‘shared dreams’ of literature – a virtual, open cosmos, accessible to anyone, without a password

How can we see what does not yet exist? Literature – specifically the genre termed science fiction or fantasy literature, or sometimes magic realism – is a tool we can use to disperse or make holes in the mists that obscure our vision of the future.

A book is a harbinger of things to come. Sometimes it predicts future events; even more often it serves as a warning. Many of the direst visions of science fiction have already come true. Big Brother and the Ministry of Truth are watching over even greater territories than in Orwell’s Oceania of 1984. More…

Helsinki: World Design Capital 2012

13 January 2012 | This 'n' that

Swimming in the rain: winter joys of Helsinki. Photograph: Valtteri Hirvonen – Eriksson & Co.

After Turin (Italy, 2008) and Seoul (Republic of Korea, 2010), 2012 Helsinki is the third World Design Capital, selected in 2009 by the International Council of Societies of Industrial Design (ICSID).

Helsinki was considered to be a city where ‘design has for decades been a pivotal enabler to building an open city’.

The theme is ‘Open Helsinki – Embedding Design in Life‘. The idea is to improve the everyday life and environment of the citizens and the development of both public services and private enterprises.

In addition to Helsinki, the realisation of the Design Capital year will be carried out by four other cities: neighbouring Espoo, Vantaa and Kauniainen as well as Lahti (some hundred kilometres north of the capital). The Finnish government, two ministries, 21 commercial companies and some universities will co-operate in this project, which has a budget of 16 million euros (2010–2013).

The programme includes some 300 different events, half of them development projects, themed ‘The changing city’ or ‘New solutions’; the other half consists of various exhibitions and encounters for the citizens of Helsinki, tourists and design people.

The ultimate goal of this all is said to be ‘permanent change’. Whatever that really means – good luck!

However, as writer and design critic Kaj Kalin noted in a review in Helsingin Sanomat newspaper (30 December), Finland is full of well-educated designers, but lacks both investment money prepared to take risks and working industry: soon all production will have moved to cheaper countries – and nobody will be able to produce anything. New Finnish design, Kalin argues, mostly approximates merely to ‘a show parade of models and prototypes’.

Sealspotting

14 June 2009 | Reviews

Sleeping

Zzzzzzz! In the grey seal kindergarten babies take a nap after dinner. – Photo: Seppo Keränen

Taskinen, Juha
Paluu Saimaalle

[Return to Lake Saimaa]
Helsinki: WSOY, 2009. 204 p., ill.
ISBN 978-951-0-33745-5
€ 38.90, hardback
Keränen, Seppo & Lappalainen, Markku
Hylkeet
[The seals]
Helsinki: Maahenki, 2009. 151 p., ill.
ISBN 978-952-56-5266-6
€ 45, hardback
Sälar

Helsingfors: Söderströms, 2009.
151 p., ill.
Swedish translation: Annika Luther
ISBN 978-951-52-2603-7
€ 45, hardback

The private life of the species of seal that lives only in Lake Saimaa has been carefully investigated lately. Almost everything about this highly endangered species has been revealed, thanks to technological devices such as transmitters that can be glued to their backs…

STOP! WARNING:  as I realise that not everybody wants to know what pinnipeds do in their spare time, I suggest you quit reading now, if you aren’t interested in the lives and fates of an obscure group of about 260 mammals that live in a lake in the remote west of Finland.

More…

Oink oink

23 June 2011 | This 'n' that

Naturally, here at Books from Finland, we’re keen to use the internet for serious (or not so serious) reading, but at the other end of the scale Finns are garnering considerable success in the world of smartphone games.

We don’t like to blow our collective trumpets, but it’s a little-known fact that the phone game Angry Birds, with birds and pigs in the starring roles, is actually Finnish, developed in 2009 by a company called Rovio. As the Helsinki freesheet Metro (31 May) notes, Angry Birds has been downloaded more than 200 million times on different devices since its launch in December 2009.

What is the secret of Angry Birds’ success? ‘I like it because it doesn’t really have any rules and you never know exactly what’s going to happen next,’ says our young reviewer Sophia, 9; her sister, Tia, 5, says ‘I like it because you get to shoot in it.’ To judge by the amount of time they spend playing Angry Birds, they like it a lot.

And how did Angry Birds come about? ‘At the beginning of 2009 our design group went through a number of different options,’ Rovio’s communications director Ville Heijari tells Metro. ‘One of them was angry-looking birds, and everyone fell in love with them right away.’ And what does Heijari himself like best about the game? ‘Definitely the fact that when you make a mistake, the pig laughs at you. That really makes you want to try again.’

In the pipeline is an Angry Birds movie, plus further development of the game itself. ‘So far the world has only seen an glimpse of the birds’ world,’ says Heijari.

 

 

In a class of one’s own

18 December 2009 | Reviews

Obs! Klass
Red. [Ed. by] Charlotte Sundström & Trygve Söderling
Helsingfors: Schildts, 2009. 288 p.
ISBN 978-951-50-1891-5
€27, paperback
De andra. En bok om klass
Red. [Ed. by] Silja Hiidenheimo, Fredrik Lång, Tapani Ritamäki, Anna Rotkirch
Helsingfors: Söderströms, 2009. 288 p.
ISBN 978-951-522-665-5
€26.90, paperback
Me muut. Kirjoituksia yhteiskuntaluokista
Helsinki: Teos, 2009. 267 p.
ISBN 978-951-851-259-5
€27.90, paperback

At some time in their lives, all members of the Swedish-speaking minority in Finland have been confronted with the phrase ‘Swedish-speaking better people’ [Svenska talande bättre folk], uttered in tones of contempt. Encouraged by news and entertainment media with little regard for the consequences, Finland’s Finnish-speaking majority is hopelessly fascinated by the image of us Finland-Swedes as a uniform and monolithic haute bourgeoisie that resides in the coveted Helsinki neighbourhoods of Eira and Brunnsparken. More…

Who for? On new books for children and young people

29 January 2010 | Articles, Non-fiction

Secrets: an illustration by Aino-Maija Metsola from Minä ja Muro (‘Me and Muro) by Mari Kujanpää

Books have a tough time in their struggle for the souls of the young: more titles for children and young adults than ever before are published in Finland, all of them trying to find their readers. Päivi Heikkilä-Halttunen picks out some of the best and most innovative reading from among last year’s titles

Nine-year-old Lauha’s only friend and confidant is her teddy bear Muro, because Lauha is an outsider both at home and at school. The children’s novel Minä ja Muro (‘Muro and me’, Otava), which won the 2009 Finlandia Junior Prize, provoked discussion of whether it was appropriate for children, with its oppressive mood and the lack of any bright side brought into the life of the main character in its resolution. More…

Arms and the man

30 June 1999 | Archives online, Authors, Interviews

The work of Veijo Meri (born 1948) has a secure place in the canon of Finnish prose of the second half of the 40th century. One could say Meri is a man’s writer – especially favoured by men who have been at war. The male characters of his short stories, novels and plays find themselves in absurd and surprising situations in a world governed by chance. They are not, however, heroes, but everyday anti-heroes who are depicted by their author with laconic humour. Since the 1980s, Meri has turned to historical essays.

Meri is an unbelievably prolific speaking machine; hardly have I set foot inside his house when he is already, in his speech, strolling along the shore of the Pacific Ocean with Matti Kurjensaari, his late writer friend. The academic and writer Veijo Meri turned 70 on New Year’s Eve in 1998. The event was celebrated in the theatre, and a book was published about the writer and his work. And, of course, his birthday itself was celebrated: he no longer wishes to escape his age. ‘Can’t feel a thing,’ Meri says on the massive leather sofa in his living-room. Mrs Eeva Meri starts making coffee. ‘I’m just trying to understand that I’ve turned 70: when was it that I got to be so old?’ On his 50th birthday, he felt something: ‘It’s a threshold.’ That had, in fact, been preceded by some improvement in life; after the age of 45, apparently, one no longer suffers from hangovers and all the most sensitive nerves have stopped working.’ The world has become extremely familiar. There’s nothing mysterious hidden behind the hedge, on the other side of the horizon. You tend to avoid thinking about death, because it begins to seem a pity that you will have to leave the world, now that you finally feel at home here.’ More…

In the beginning was… DNA?

8 October 2010 | Reviews

Adam and Eve, or the elephants: Osmo Rauhala’s sketch of The Fall of Man. As the bull eats the apple, evil rises from the ground in the form of a plant with eyes: a ‘misbreed’, a cross of two species alien to each other

Kuutti Lavonen – Osmo Rauhala – Pirjo Silveri
Tyrvään Pyhän Olavin kirkko – sata ja yksi kuvaa /
St Olaf’s Church in Tyrvää – One Hundred and One Paintings

Toim. / Edited by Pirjo Silveri
Translations: Silja Kudel, Jüri Kokkonen
Helsinki: Kirjapaja, 2010. 143 p., ill.
ISBN 978-952-247-103-1
€44.30, hardback

The old shingle roof of the early 16th-century stone church of St Olaf in Tyrvää, in the province of Pirkanmaa, southern Finland, was repaired by village volunteers in 1997. Three weeks after they completed their work, a drunken arsonist set the church on fire. More…

Poetry for a new age?

31 December 2001 | Archives online, Authors, Reviews

The brilliant colours and new free verse of the poetry of Katri Vala (1901-1944) inspired her contemporaries in the 1920s, but also divided them – into those for whom Vala’s romantic exoticism brought to mind the movies of Rudolph Valentino and those who were enchanted by the freedom of her imagination. ‘Wild and full-blooded and primitively lovely’, Katri Vala was to die of consumption at the tragically early age of 42. Vesa Mauriala introduces her work

Like many Finnish beginner poets, Katri Vala published her first works in the children’s magazine Pääskynen (‘The swallow’), and later in Nuori Voima (‘Young power’), a publication intended for schoolchildren. Around this latter, originally didactic, magazine, there subsequently grew up the Young Power League, and in the mid-1920s this in turn gave birth to a group called the Torch-Bearers, which first published intensely personal nature poetry but later began to import European influences into Finnish literature. More…

Life as an outsider

30 September 1988 | Archives online, Authors

Runar Schildt, short story writer and playwright, has the status of a minor classic in Swedish-language literature. Among Finnish-speaking readers, however, let alone those abroad, he is less widely known. George C. Schoolfield re-evaluates the short career of an author whose life ended tragically in suicide

Now and again, Runar Schildt (1888–1925) is described as ‘a Finland­-Swedish classic,’ and the description is accurate: he is one of those rather few figures from the minority’s literary past whose works can be read with genuine pleasure today, and there are plenty of testimonies to the living quality of his production.

The late author Anders Cleve once remarked that Schildt had been his most essential literary experience (although Cleve never showed, save in his first and best book, Gatstenar [‘Paving stones’ 1959], that he had learned Schildt’s admirable concision); and the cultural essayist Johannes Salminen, the novelist and dramatist Johan Bargum, the political observer Leif Salmén have all paid tribute to Schildt’s suggestive style, social acuity, and emotional penetration. More…

Take, eat

30 September 1994 | Archives online, Authors, Extracts, Interviews, Non-fiction

Annika Idström interviewed by Tuva Korsström; from Berättelsernas återkomst (The return of the narratives, Söderströms, 1994), a series of interviews, by Tuva Korsström, with contemporary European writers

Tuva Korsström: If one looks at what you have written, it’s had to do with things that no one talks about: mother-hatred, father-fixation, incest-fantasies; child-abuse and maltreatment of women… In general it’s always the unpleasant and depressing things that are made taboo: all our effort goes into normalising life according to a norm of niceness. Yet all these terrible things are there in our subconscious. You bring them out into the light, and it just can’t be very nice. You talk about what we’ve kept secret. Your method can perhaps be compared to psychoanalysis.

Annika Idström: My most recent book is about love, or rather about the possibility of love. It takes its origin not in an image but in my intensive reading of the Swedish psychoanalyst Jurgen Reeder’s book Begär och etik (‘Desire and ethics’).

It’s surprising that psychoanalysis wants to stubbornly cling to the simple idea that love is something the subject in a teleological sense ‘matures’ into unless its path of development has been hedged around by too many difficulties and disappointments. It’s surprising that people go in search of a discourse about love’s fundamental or innate harmony, when instead it ought to be obvious that what we call love is in the best case a ‘symptom’, behind which the individual finds himself torn apart by disparate forces.

Begär och etik

More…

Breton without tears

31 March 1994 | Archives online, Fiction, Prose

Extracts from Euroopan reuna (‘The edge of Europe’, Otava, 1982). Introduction by H. K. Riikonen

I am reading a book, it says pour l’homme latin ou grec, un forme correspond à un être; pour le Celte, tout est metamorphose, un même individu peut prendre des apparences diverses, so it says in the book. A strange claim, considering that the word metamorphosis is Greek, and that the best-known book about metamorphoses, Ovid’s Metamorphoseon libri XV was written in Latin. In the myths of all peoples, at least the ones whose oral poetry was recorded in time, such as the Greeks, Serbs, Slavs, Finns, or Aztecs, metamorphoses play a very important part, the Celts are not an exceptional tribe in this respect. The author must mean that the Celts still live in mythical time, the time of metamorphoses when the human being assumed shapes, was able to fly as a bird, swim as a fish, howl as a wolf, and to crown his career by rising up into the sky as a constellation. Brittany is part of the Armorica Joyce tells us about in Finnegans Wake, that book is incomprehensible if one does not know Ireland, and now I see that Brittany is the key to one of the book’s locked rooms. I thought I already had keys to all the rooms after Dublin, the Vatican, and Athens, but one door was and remained closed, the key is here now, in my hand, I can get into all the rooms in the book, and I am home even if I should happen to get lost. The room creates the person, she becomes another when she goes from one room to another, this is metamorphosis, and when she leaves the house she disappears, she no longer exists. The legend on the temple at Delphi, gnothi seauton, know thyself, has led Occidentals onto the false track that is now becoming a dead end, polytheistic religions correspond to the order of nature, but as soon as the human starts to imagine that she knows herself, as soon as the metamorphic era ends, monotheism is born, the human being creates god in her own image, and that is the source of all evil. Planted like traffic signs at the far end of this cul-de-sac stand the hitlers and brezhnevs and reagans and thatchers, new leaves are appearing on the trees, the sun is shining. Landet som icke är* är en paradox: landet blev befintligt därigenom att Edith Södergran sade att det icke är. On the sea sailed a silent ship*, as I tracked my shoeprints across the sand on the beach, it was like walking on a street made out of salty raw sugar, I felt desolate. The wind bent the grasses, the sun warmed the back of my sweater, of course the sun always has the last word, I thought, things should be as they are, this thought gave me peace of mind. I walked past the cows, two of them already chewing the cud, the others still grazing, they stood in a line and raised their heads, stood at attention, as it were, as I walked past. I was not entirely sure that I was heading in the right direction, but then I saw the boucherie and knew that there was a café nearby. Madame greeted me in a friendly fashion, brought me a calvados and a beer and sat down for a chat, wanted to know if I liked the countryside here. I said that things looked the same here as in Ireland, she said that was true, but she had never been to Ireland. I finished my drinks and paid, left, decided to walk along the beach. I saw gun emplacements and two bunkers. I crawled into a bunker. Inside, it was dark and damp. I looked through the embrasure at the sea. I thought of the boys who had been incarcerated here. They had been given a death sentence. I examined a rusty object, what was it, I looked at it more closely, it was an axle from a gun’s undercarriage. As I arrive in my home yard, I note that the lilacs are beginning to bloom. More…

Back in the USSR

3 October 2011 | Fiction, Prose

Extracts from Rosa Liksom’s novel Hytti nro 6 (‘Compartment no 6’, WSOY, 2011). Review by Mervi Kantokorpi

Moscow hunched itself in the dry, frosty March night, protecting itself from the touch of the icy red sun as it set. The girl entered the train’s last sleeping carriage, found her compartment, compartment number six, and breathed deeply. There were four beds in the compartment, the upper ones folded agains the wall, while between the beds was a small table, on the table a white table cloth and a plastic flower vase containing a bunch of pink paper carnations, faded by time; the shelf above the end of the bed was full of large, untidily secured parcels. The girl shoved her modest old suitcase, the one she had got from Zahar, into the metal luggage space under the hard, narrow bed; her small backpack she threw on the bed. When the station bell sounded for the first time, the girl went to stand by the corridor window. She breathed in the scent of the train, iron, coal-dust, the smells left behind by dozens of cities and thousands of people. Travellers and those who had come to see them off pushed past her, shoving her with their cases and parcels. The girl touched the cold window with her hand and looked at the platform. This train would take her through villages inhabited by deportees, through the open and closed towns of Siberia to the capital of Mongolia, Ulan Bator. More…

Compelled to write

30 June 2000 | Authors, Interviews

Kjell Westö

Photo: Marica Rosengård

Kjell Westö (born 1961) is one of a generation of younger, urban Swedish-language writers who are at home in both Swedish and Finnish. An extract from his novel Vådan av att vara Skrake (‘The perils of being Skrake’, Söderströms, 2000), which traces the fortunes of the Helsinki family of Skrake from the 1910s to the present day. Here, Westö is interviewed by his alter ego, the discontented poet Anders Hed, editor of the cultural journal Bokassa (now sadly extinct)

Anders Hed: So, to get us going: do you write any poetry at all nowadays?

Kjell Westö: No. The last poem I wrote comes at the end of the title story in Fallet Bruus (‘The Bruus case’). And that book came out in 1992.

It’s a poem about human face and the search for ‘the Thou’, isn’t it?

Exactly. More…

Why translate?

28 January 2015 | Essays, Non-fiction

Down by the sea: Herbert Lomas in Aldeburgh. - Photo: Soila Lehtonen

Down by the sea: Herbert Lomas in Aldeburgh. – Photo: Soila Lehtonen

‘People do not read translations to encourage minor literatures but to rediscover themselves in new imaginative adventures‚’ says the poet and translator Herbert Lomas in this essay on translation (first published in Books from Finland 1/1982). ‘Translation is a thankless activity,’ he concludes – and yet ‘you have the pleasure of writing without the agony of primary invention. It’s like reading, only more so. It’s like writing, only less so.’ And how do Finnish and English differ from each other, actually?

Any writer’s likely to feel – unless he’s a star, a celebrity, a very popular and different beast – that the writer is a necessary evil in the publisher’s world, but not very necessary. How much more, then, the translator from a ‘small’ country’s language.

Why do it? The pay’s absurd, you need the time for your own writing, it’s very hard to please people, and translation is, after all, the complacent argument goes, impossible. I’m convinced by all these arguments, and really I can’t afford to go on; but I don’t regret what I’ve done and, looking back, I can find two reasons for translating Finnish writing, one personal, the other cultural. More…