Stylistically, Nyman is a master of accurate observation and mysterious humor.
Novel
Ossi Nyman: Peace of Shame. Work. 349 s.
Ossi Nymanin the third work is a combination of an autofictional, fictionally motivated diary and an artist novel. It explains too precisely and leaves uncomfortable gaps.
It’s a little petty and overly mundane. Its selves are the author.
Peace of shame situations are built around the relationship and parenting. The narrator and his wife Hanna start a new family, the other members of which are Hanna’s child Valma, who grows up to be a Hungarian during the book, and a baby who becomes Taapero – as well as Hanna’s old, moldy detached house in the middle class area of Maununpuisto.
Already a novel the initial situation points to a gap between the narrator’s expectations and reality. In his dreams, the narrator completes the family:
“We finally have a family,” Valma said. Hanna looked at me then and there was gratitude in her gaze and I saw that she was happy with me and that I was a good man in her eyes. ”
Nyman focuses on how the gendered role feels. The work reminds a lot Saara Turusen Side people (2018), for example, in its laconic statement, in the conventional representation of gender roles, and in the gap between the narrator’s expectations and reality.
Gender more essential In peace! the social class is rising. The work is intersectional, the narrator is located at the multilevel interface.
The situation is familiar from the firstborn who spoke to Nyman Arrogance (2017), which earned him a reputation as a work visitor. Idleness does not belong to the poor, it does not belong to the list of persuasive life choices.
Class thinking passes Peace of shame completely. “I considered myself a compassionate person, but I had a hard time thinking of the good rich since I was a child,” says the narrator on his way to make the most expensive purchases of his life with the scholarship he just received.
Intermediate space occurs all the time. He has been brought to Helsinki by a train. Adapting to a male role is tricky, a pendulum movement of critical distance and slamming.
She is abandoned by the districts formed by the women, even though she takes care of the toddler as a mother in general, allowing a higher-paid parent to work.
He lives on subsidies and precarious income. As he looks through Hanna’s house through an old, wavy windowpane, he glances for a moment into the state of ownership:
“What would it feel like to sit in it so that you would have the power and the right to be as you felt good, and not have to be humble and grateful for every thing.”
The narrator gets the joy of appearing in the eyes of others to be a decent citizen, for example, carrying a packet of cereals in an engagement ring in his hand, and assuming others to think of him as the father of the family.
This is how it is born Peace of shame basic friction. The name refers to the social contract that the narrator and his or her spouse have entered into.
It is not just a relationship between two people, private, but the whole system in which that relationship and division of labor takes place. Such structural thinking is also present in both of Nyman’s earlier works.
Peace of shame narration, even in its simplicity, requires the reader to think in order to get the most out of the novel.
The narrator wants to have a relationship with Hanna, and Hanna agrees, just like the narrator’s ex-wife Riikka said: “She doesn’t like it, but she does, because she wants a man and a family.”
Hanna’s and Valma’s relationship turns out to be so close that the narrator experiences a constant, externality that sometimes unfolds as an effortless drama:
“At home, I switched to a laptop wallpaper Francis Baconin even a triptych in which his girlfriend died in a toilet bowl, but in the morning I changed it back to a picture showing Antti Hyry sat in a rocking chair. ”
The narrator is left in an unresolved, very life-like situation where the deal feels bad. At that point the ransom of peace is great and stained with shame.
It is a peace of shame a strong work on norms and the nature of adherence to them. For much of the novel’s passage, the narrator seems discouraged, frustrated, even angry. Behind the shield of truth exudes a bitter challenge to the forces that shape life like this.
As is typical of modern autofiction Peace of shame remains within the realm of realism. Yet exactly what is written in the work is welcome in the genre of autofiction. In autofiction, the formula of the growth story flourishes, in which the narrator encounters a problem and solves it, and sometimes implicitly says that he has learned something.
Peace of shame the narrator learns nothing, does not solve the problems of his life, does not reconcile with identity conflicts, and especially does not offer an emotionally satisfying, closing story arc.
Peace of shame reinforces the basic questions of autofiction as literature: how and why one is told about oneself, how event costs are related to the minute, what can actually be located in a text when someone I am talking about at some level about oneself.
Stylishly Nyman is a master of accurate observation and mysterious humor. The peace of shame is restrained in its narrative, but towards the end the rounds increase, and aggression tends to surface.
It is wonderful to read the work with thought, a joke or an incision may not be heard until a moment later, because a lot is loaded into the sentence level. It is not the most common virtue in novels, and it is precisely as a virtue that it gives the reader of autofiction the space that belongs to the reader of the novel.
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