Saturday essay The Swedish writer’s “scandal novel” was a literary pioneer long before Karl Ove Knausgård – Where did the autofiction boom really start?

In 1997, the Swedish author Carina Rydberg published an autofictional novel The Supreme Caste. The novel was seen as revenge – and hardly anyone remembers it when it comes to the autofictional literary boom.

I have there is no Norwegian writer Karl Ove Knausgårdia against. Vice versa.

In fact, I can be called his fan without fuss. For example, when in 2016 I got the job of interviewing him over the phone, I was in a hurry. Very good at me.

There were problems with the recording, oh no can’t not why just when the other end of the handset is Knasu, and I first had to hang up for a moment. Now end the call with Knasu in progress! I have no doubt told this to other than his closest colleagues.

My struggle is an important novel to me. Its six parts as I read I have sunk in the best possible lukuhimoon, where nothing else does not really feel like anything. Reading is an intimate affair anyway, though My struggle was so intense that it, as a writer, seemed to change us. I’m already going to bed with Knasu!

Not very appreciated joke humor.

I am feminist, it is necessary, but by nature the actual old clinging. Because of that trait, I try to be vigilant — that I would not, for example, continue to admire old geniuses from old memory in the eternal way we meet to admire male geniuses.

I have a history. I did a presentation in high school, a dissertation in high school Väinö from the Castle. The perspective was not part of my range of skills, so I tapped up countless hours of the pain points of the Castle’s career and great gains.

I still love the Castle, not that, but I guess I could Even to Eve Joenpelto to fall in love.

But no, Lauri Viitahan it was immediately a good second, charisma came out of the photos as well.

From where we get to Knausgård again.

Patriarchate with enough striving, and it’s hard to get rid of your own, inherent interests.

Fortunately, reminders appear here and here. I read a Norwegian actor Liv Ullmannin an autobiography published in 1976 Change. The text is beautiful, the work is anything but a traditional autobiography, and it is already quite early on the front pages: “Every day I try to write. It’s difficult when I’m home, where are the phones, Linn, child carers, neighbors.

If I had been a man, it would have been different. A man’s profession is much more respected. As well as his homework, his fatigue, his concentration. ”

I guess Liv Ullmann knew what he was talking about. He had lived with his daughter Linnin paternal Ingmar Bergmanin with Fårölle for five years.

Ullmannin Change is an excellent example of what happened in literature in the 1970s: at that time, a woman’s voice became ‘in a sense’ acceptable, as Liisa Enwald write History of Finnish literature (SKS, 1999).

The message of the literature was no longer required to be global or social, it was enough to tell about one’s own psychology. The personal came true. “In my thoughts, I make a journey in the world and in myself and try to mark the journey on paper, ”Ullman begins.

It is a pity that even in the world of literature, when women first applied for areas that were traditionally not highly valued, that area was branded as the world of women – and the value was further diminished.

Oh yeah.

And on the other hand, we know what happened when Karl Ove Knausgård left for himself.

Dangerous to experience, Aila Meriluoto diary from 1953 to 1975, published in 1996. Although “literary settlement” was very much in vogue in the 1970s, diary entries desperately show what Enwald sums up in literary history as follows: “… to live up to their breaking lives. ”

What might have been appropriate for a man was not for a woman.

Eye measurementIn his 1969 collection, Meriluoto wrote: “I give an objective testimony through myself / because things go through me / it is the only valid testimony / furiously, according to my own rhythm.”

I’m thinking Carina Rydberg.

Swedish the author Rydberg (b. 1962) published an autofictional novel in 1997 The highest caste (It is almost empty). The novel – which takes place in India and at the PA & Co restaurant in Stockholm, whose successful loyal customers will be portrayed under their real names in an unfavorable light – was a scandal even before its publication.

After the publication of the novel, it was branded in several criticisms as revenge. A critic of Dagens Nyheter wrote about Rydberg’s “lost glory” and defined him as a mediocre writer whose slander book no one will remember in a few years. “Nothing Strindberg, ”The critic riveted.

Well, Rydberg’s book was forgotten.

The opposite happened to Knausgård when My struggleThe first part of the novel was published twelve years later.

Where Rydberg had been the avenger, Knausgård “devoted himself to the work of remembrance”. The novel was compared Kafkan to letters written to his father.

Things are complex, situations and people are unique. It is not appropriate to start arguing about which of the novels, My struggle or The highest caste, is objectively higher quality.

But does it not seem that if the experiences of women and men are placed side by side – for example, now in the area of ​​an autobiographical text – the experiences of women are trivial and the norm for men?

No should pull the bends straight, but I can’t help but quote what the author Linda Boström Knausgård said when I asked him in an interview in 2017 how it feels to have been written by an ex-man My strugglenovel.

“Of course it’s painful. But that is his point of view and he has the right to write about his own experiences. Life hurts. No pain can be avoided. Feeling pain is not the worst thing in life. It can also be like a reverse gift. Feel the feeling through. ”

Forgive me if I sink for a moment gloomily wondering if, among other things, women should be, always just, morally superior.

The highest caste Following the publication of the Finnish translation of Carina Rydberg in 1998, Carina Rydberg was interviewed at Helsingin Sanomat. The story praises the novel’s subdued balance and describes it as a “literary performance” in which, according to Rydberg, real life is imprisoned.

Rydberg said making the novel was fun. Which is nice, of course – especially when Rydberg became at the same time the snow plow of 21st century autofictional literature.

“It was really fun to do that kind of prose. I could write scenes that wouldn’t work in the eternal world if it had been fiction! However, I do not want such literature to increase. In the long run, it would be really boring to read. ”

Carina Rydberg said that.

But “such literature,” it increased. And now we read.


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