The home of the officers’ family moved according to the father’s places of service every few years, but the longest stop was in Lappeenranta. In addition to the life of the barracks and their clubs, Seppälä also found a fascinating and mysterious world of Russian emigrants, who came to shape his portrait.
A piece of clay After graduating from high school, Seppälä worked as a summer editor for Karjala magazine in Lappeenranta and a newspaper in Heinola, Itä-Häme.
At the dawn of the 1960s, he moved to Helsinki for a new modern newspaper, Päivä Sanomat, founded by the Skogians and SAK. As its editor-in-chief, Matti Kurjensaari, it gave a good basic education in journalism.
Seppälä’s magazine career began at Jorma Reenpää’s Lehtiaitta oy, first at Kotipost, then as the editorial secretary of Elokuv-Aita. From here he moved to Me Women. There, in addition to the role of editorial secretary and manager, he edited his own gossip column called Roulette, which attracted attention with its alertness and wit.
So Seppälä was recruited to the aid in the autumn of 1970. The goal was to create an extensive, completely new kind of personal news department, whose name and Seppälä devised Mata Hari as his own parody role. Along with her dress, Avun Mata Hari looked and looked like her role model, a World War I spy.
Seppälä’s contacts with the entertainment, arts and political circles were seamless and the staging was so complete that it was an honor for every celebrity to make their news public through Mata Hari. The satire of the writing method brought added value to the column.
When Mauri Lintera changed from Jaana, a monthly magazine owned by Lehtimiehet oy, to a weekly magazine, she decided to hire the most well-known suppliers of the competitors. Anu Seppälä also moved to Jaana, as did Mata Hari.
After Jaana, Seppälä received a new women’s magazine, New Silver Mirror, as a project from Yhtyne Kuvalehti, but this ended in shipwreck less than a year later.
Seppälä surrendered as a writer and published four entertainment novels, the first of which, Polonaise, was strongly autobiographical.
However, the fast-paced journalism pulled back, and Seppälä was hired by Helsingin Sanomat for Sunday delivery in the mid-1980s. From there he retired in 2004.
In magazines Anu Seppälä had been a star and her own brand, now she adapted as one of the team. But for Helsingin Sanomat over the weekend, he brought magazine-type writing and personal interviews with top politicians on these pages.
The spectrum of a skilled storyteller was wide and the stories readable. Human destinies were the object of his bravura and the world of old Karelia, tsarist Russia, and dance and ballet with his special enthusiasm. They also produced biographical works from his pen.
Theater sets similar were the festivities and dinners cleverly organized by the charming Anu in her beautiful home. Those present tell of their Slavic atmosphere and steep tables.
There were three marriages in his life, all leaning on artists. The first spouse was psychiatrist Kalevi Seppälä, the second graphic artist and antique dealer Timo Tanttu, the third artist Antti Vuori. Anu Seppälä did not have any children of her own.
The author is Anu Seppälä’s former supervisor and editor-in-chief of Avu 1969–1975.
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