Katarina Frostenson has recently contributed to the fact that Bob Dylan was awarded the nobel Prize in literature. She is namely one of the members of the Svenska Akademien.
in Fact, there is a poetic justification for the choice of Dylan in her collection of poems, Sånger och formulas.
Read the news: the Daily newspaper reveals the winner of the Nordic council’s literature prize a half days before sperrefristen
In the poem “Sång, turn,” writes Frostenson about dylan’s diction and voice. She portrays how his voice somehow dig out “series och rum, långt nere och högt / up mix moln” (moln means cloud in English).
You might think that her fascination for Dylan indicates a kind of affinity. It will be a feilkobling. Neither the show or bluestradisjonen have no place in for this year’s winner of the Nordic council literature prize, rather, she is a distinctly written poet and playwright.
the Play Traum for example, the telling subtitle “A language of grief and lustspel”.
the Queen of physical discomfort
Yes, Frostenson is a språkforsker in all their work. She is not seeking beauty or harmony, but the most precise expression for the chaotic conditions. I’ve previously called her the queen of physical discomfort because Frostenson depicting bodily turmoil with an almost cool distance.
There is no noisy enthusiasm or suffering in her poetry, no proclamations or big words. The reader must simply pull themselves to follow the notes.
Then one discovers to return both political subjects and burning issues in the low-key poems. In vinnerboken Sång och formulas there are both Romanian beggars and syrian refugees.
Søppelpoesi
I especially recommend the poem “Bråtesgang”, which runs over nine pages. It’s about garbage and waste management.
the Poem can definitely be read as klimalitteratur, but shows how Frostenson promises a specific subject of great poetry.
Read more about økopoesi
“All maste ta vägen någonstans”, writes the poet. And “Bråtesgang” is just a depiction of how the junk changes hands. How we use our hands to move, throw and slide around on the food waste, appliances and scrap.
the Hand is a kind of part for whole in this poem, a part of the body which in itself is innocent in how it is used: “the Hand is a sjöstjärna in the air”. It need not even agree in their to-do list: “All you bara lämner, tänker hand”.
Slowly but surely I begin reading to identify myself with this hand. Frostenson manages the feat to make up a pretty fellesmenneskelig sense of is to be included in a use – and kastsamfunn one is not directly responsible for, but contributes to every day.
our Hands and casts “tepåsarna köttsås öronpinnar citronskal”. We send the “gröna plastsaken” on hiking and ends in the “throat of the djuret”.
In the last part of the poem draws she a science fiction-like landscape where the waste has taken over, and make up a “perpetual landfill”. And man is not so lucky that it drops away from their own søppellandskap. The end is sinister and formidable poetry:
you shall not sjunka
inte go under
you will be passed over until the
in bråten stand
höra ljudet as skrapar, dryper, fräser
it brinner inte
ner, it glöder för ever
Is the price out of date?
Katarina Frostenson is not as inaccessible as many want it to. But I shall not add hide the fact that her bildespråk may seem introverted and exclusive. the Sånger och formulas is probably one of these vinnerbøkene that probably won’t get many readers.
Maybe it will also append itself into the pattern NRK Kulturnytt recently pointed out, namely that the winners of the Nordic council’s literature prize not necessarily be translated to nabospråkene – despite the fact that it is the council’s intention.
Is the price then have been a pliktløp, asked the NRK. I mean no. The nordic council’s literature prize could definitely make themselves lekrere by to announce the winners with impact in public. In year one could in that case choose a novel by Linn Ullmann or Tom Malmquist.
Tom Malmquist lost her in childbirth and was alenefar
But in a situation where the popular literature is about to displace a demanding and picky kvalitetslitteratur from almost all contexts, it is all the more important that there are juries who do not take realm into account.
By giving the award to the Sånger och formula provides the Nordic council to keep the life in a proud Swedish poesitradisjon which extends from the Karin Boye and Gunnar Ekelöf to Tomas Tranströmer – and Katarina Frostenson.
Jon Fosse received the award in the last year
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