Marko A. Hautala tells the incredible twists and turns of Algoth Untola with a consistent and careful background.
Marko A. Hautala. Algoth. A rebellious penman. A. Untola’s strange life. Warelia. 1180 s.
“The evening came gently. It came as a grandmother to her liking. ”
No one writes like that Algoth Untola. Before each sentence, one must be vigilant; what’s coming from there now!
“The peace of the church flickered on the back of the lake sprinkled with ducklings.”
For example, such a thing. The samples are Irmari Rantamalan novel Harhama.
Algoth Untola was also an unbeatable champion in inventing completely unconscious still lifes and plots. Like though Maiju Lassilan in a novel Master Nyke, in which a 3-year-old namesake, aroused by his mother’s new marriage, escapes to a neighboring village to preach “ättää,” the letter s, which he cannot yet say, and causes a small-scale revival movement among the little ones.
However, the most remarkable story of Algoth Untola (1868-1918) was born with her own life. Absolutely amazing story. At the same time, it is a story about the birth of Finland.
And this story of a rebellious penman is now being told by 25 years of research Marko A. Hautala in his new work, which has about the same number of pages as In delusion, in Rantamala ‘s debut novel, called Stallion.
This story goes, straightening all the curves, like this:
Algoth Tietäväinen, already a child of an “extraordinary nature”, was born in Tohmajärvi and, with his father’s death, derailed, where he crept himself into the Sortavala seminary and worked as an elementary school teacher in the 1890s. He changed his surname to Untola.
In 1900, Untola moved to St. Petersburg as a businessman. The business went nowhere in 1904, and Untola returned as a teacher to Lohja, without his wife. Therése Küstring, with whom he had married in St. Petersburg. They never met again, but the covenant remained in force on paper until 1913.
Teacher Untola changed to Lohja Kaustinen in 1905. There he lived in cohabitation with a young widow and a mother of two, Olga Jasinskin with who had taken a trip from Lohja.
Untola began to write political stories under the pseudonyms in Kokkola magazine, a voice of the Finnish party. In the autumn of 1906, he became an agitator for the Finnish Party.
In 1907, the distance to Olga tightened, and at Christmas 1907, Untola got sulfuric acid from her eggs. The shame of a political actor became national news.
Algoth Untola melted into sulfuric acid. He was replaced by a hermit who changed his name and name frequently, publishing his debut novel Harhaman in 1909 under the name Irmari Rantamala, in which he revealed the demonic casting of Finland and the universe. The text began to spray “like an erupted abscess”.
Irmari Rantamala, Maiju Lassila and JI Vatanen published thirty plays and stories in nine years. In 1912, a copywriter A. Rantala moved to Helsinki, Runeberginkatu 6, in a 10-square-meter cold booth designed for the preservation of bodies. He grew potatoes and radishes on a rented plot on Kalmistonkatu.
Irmari Rantamala and Maiju Lassila also wrote stories for Työmies magazine from 1916, continuing this craft in the spring of the Civil War. For these merits, the perpetrator, accused of inciting violence, was rewarded with the death penalty and execution in May 1918. Some thought it was right and some thought it was wrong.
Untola’s execution did not go according to the instructions. When the tugboat, which had left the market square and was carrying red prisoners to death, arrived at its destination in Santahamina, Untola was already breathless and his body wet. Apparently he had jumped into the sea and shot there. Or he had died of a heart attack in cold water.
Marko A. Hautala says Untola’s amazing twists consistently and the steps carefully backed up. As a researcher arguing about Untola’s life, he constantly takes careful care of what is a fact and what is a rumor. And wild rumors of Untola’s mysterious punching are enough, as is the fact that part of Harham’s lost manuscript was written in Chinese.
Hautala has found deep roots in Untola’s literary literature, starting with poems published in a celebratory magazine in 1893 and sent to WSOY three years later. Marttamanuscript. It is fascinating to think that Teuvo Pakkalan On the log rivera great comedy released in 1912 that parodies the play and surpasses its role model Children of nature, could have appeared in its original form already in Kaustinen in 1906 under the direction of its author.
Hautala also proves the claim that Untola wrote much more than he published, another mokoma. The tangled collaboration between the grumpy author and the pained publishers often led to “wrecks,” the material was destroyed, and unpublished manuscripts are still dormant in the archives.
Absolutely essential new information is that the lightning-fast author had time to react to the Harhaman towards the rumors and revelations written by critics about the first part.
A poem by Irmari Rantamala highlighted by Hautala Plow is a champion, downright Elmer Diktonius reminiscent of an unvoiced monologue to a plowing horse, a true hero. Another dimension to the production of a multi-headed author.
Hautala is able to weld Untola’s Worker’s Phase and writing during the Civil War as a consistent extension of his previous political and literary activities.
What can be told is told about imprisonment and execution.
The rich illustration in the book is a valuable part of the whole. The Teuvo Pakkala look at the young photographer’s first photograph, with its unnecessary inclinations, already communicates literary dreams.
Between Hautala also favors Algoth Untola too, resulting in bias and, for example, publishers and Olga Jasinski unilateral criticism of Hautala tells of the rebellion of a pen guinea pig “correctly” describing the fight against a corrupt literary “elite” in places with almost populist accents.
At the beginning of the book, Hautala outlines that he is a historian and a biographer of Algoth, and that he leaves the study of literature to the trouble of others. However, he dissolves from this position to assess the artistic weight of Untola’s works with the authority of an expert. It’s not entirely fair game to the reader.
In any case, Marko A. Hautala’s Algoth monument wrestles with its significance in the same heavy series as Pentti Paavolainen important, equally massive Kaarlo Bergbomin biography.
It is an essential tool for every researcher of the word art of the future Rantamala-Lassila-Vatanen.
The author is a writer and theater director. In the 21st century, he has, among other things, dramatized and arranged ten performances on Untola.