Archives online

Outside the goldfish bowl

Issue 4/2003 | Archives online, Authors, Reviews

Agneta von Koskull was born in 1947 into an aristocratic family in Helsinki – which, in post-war Finland, did not involve any great economic luxury. Her father, Baron Erik von Koskull, worked at the Hufvudstadsbladet newspaper as a correspondent in the advertising department, while her mother Elsa, née Behm, ‘minded the till’ at a shipping company. Agneta and her two older sisters were looked after first by their beloved nanny, Dodo, and later by a series of more or less unsuitable home helps and an eccentric uncle. More…

In the mirror

Issue 3/2003 | Archives online, Fiction, Prose

Extracts from the novel Helene (WSOY, 2003). Introduction by Leena Ahtola-Moorhouse

It was raining that day, and I was leafing through art books, as I often do, in the bookshop. Then I happened to pick up a work in which there was a picture; a bowl of apples, one of which was black.

Stories often begin like this, inexplicable as deep waters, secret as an unborn child which moves its mouth in the womb as if it wished to speak. For people do not seek mere understanding… people seek the sulphurous, tumultuous shapes of clouds; people seek bowls of apples of which one is black.

I bought the book and made an enlargement of the still life; on the wall, it was even more remarkable, for its correct position was standing up, tête à tête, looking straight at you, unblinking.
The apples seemed to move, to speak. I began to ponder them more and more. In the end I had to read everything I could lay my hands on about the still life’s painter. I had to visit Hyvinkää, where she lived for a long time, and touch her tree in Tammisaari with my hand. I had to travel as far as Brittany to see the rugged landscape that meant so much to her. More…

The way to anywhere

Issue 3/2003 | Archives online, Fiction, poetry

Poems from Parittelun jälkeinen selkeys (‘Post-coital clarity’, WSOY, 2003). Introduction by Matti Saurama

Enlightenment needs no tools

1.   And I laughed at everything
           and didn’t want to see anything old
there was a fingernail-sized buddha and I walked by it
in the room, trying to find the ceiling,
                           camping out in life, fag in mouth
the soft letters of the clouds, and a blowing skysign
         oh sky
2.    I stand on the street corner
       illuminated like a phone box.
       On the way to anywhere
       and always there already.  More...

Life beyond poetry

Issue 3/2003 | Archives online, Authors, Reviews

A young lyricist wearing the mantle of a poet is a familiar sight. There is a need to be different, and a need to be the same. With two volumes of poetry behind him, there is something fundamentally poetly about Joni Pyysalo (born 1974); a poetic and sensitive soul, slightly dandyish, wearing a suit. Any roughness, any pig-headed machismo, any traces of the dry, cheerless face of an intellectual are absent.

In his first collection of poetry, Jätän tämän pimeän kalustamatta (‘I’ll leave this darkness unfurnished’, WSOY 2001) Pyysalo writes that his ‘feet are light’. Levity can be a virtue just as much as profundity. It shines through his work, in the way he asks ‘where have I left my sorrows?’. This young poet does not actively seek out extreme experiences; unlike Finnish training athletes – as it were – he does not ski across swamps in the summer or run through snowdrifts in the winter. More…

A level gaze

Issue 3/2003 | Archives online, Articles, Non-fiction

The artist Helene Schjerfbeck created her own form of modernism, giving pride of place to emotion, writes Leena Ahtola-Moorhouse. Throughout her solitary life, permanently affiicted by a physical handicap resulting from a childhood accident, Schjerfbeck looked into the mirror for inspiration. In her novel Helene the author Rakel Liehu takes a look at Schjerfbeck’s mirror images and the painter’s long life

Helene Schjerfbeck (1862–1946) was passionately interested in human beings and their inner lives – the riddle of the face.

She was one of the few artists of her generation who both created masterpieces in the naturalistic and impressionistic style of her youth and was also able to shift to an entirely modern, expressionist mode. Intensity and control only increased in the avant-garde paintings of her late period. These bear comparison with the work of Picasso, Modigliani and Rouault. More…

The oldest language

Issue 2/2003 | Archives online, Fiction, poetry

Poems from Istun vastapäätä (‘I’m sitting across from’, WSOY, 2002). Introduction by Anselm Hollo

After the last lines spoken, snowflakes fall into the river.
You flow on out. Stop.
People keep going, as do the credits,
into the dark, out of sight.
You don’t remember the name of this street
but its back hunches up into a bridge across the fog.
From when on have we been terrified? The heart
wants to say something about that, to whomever
happens to cross its path, one’s own heart,
the beat that keeps on repeating itself.
An unpleasant warmth
on the seat that has just been abandoned. More…

Intense whispering

Issue 2/2003 | Archives online, Authors, Reviews

I have never heard Timo Hännikäinen read his poems out loud. On the page, the voice I hear is something like an intense but laconic whisper. There are times when the poems in the 23-year-old author’s first book, Istun vastapäätä (‘I’m sitting across from’, WSOY, 2002), skirt the edges of despair:

My thoughts are hurting,
my hands numb.
The newsprint raises a racket: even the
   unbuilt cities
already bombed.

More…

Song without words

Issue 2/2003 | Archives online, Fiction, Prose

Extracts from the novel Näiden seinien sisällä me emme näy (‘Within these walls we are invisible’, Tammi, 2003). Introduction by Maria Säntti

During the night the child was with Ellen, in her dreams. Ellen was turning over a pack of cards, the king rose, she followed the course of events from outside as it proceeded without her. The child was resting, settled, repeating her profile. The world was beautiful and all of them together in the face of death. Time stood still. A nocturnal bird sang through the rain. Ellen awoke, at night time does not stop; she thought, stepping from one memory to another. Everything was unfinished. It was a watchful night before words.

In the morning time rushed forward. Brain chemistry, Ellen thought as she lay in bed, mere brain chemistry. Then the train of thought broke off, a bright light suddenly snapped on as Tapani pressed the bedroom switch to search the wardrobe for a clean shirt. Ellen got up quickly, during the night the child had grown into something of which she knew nothing. She began to make porridge, and watched as the child opened like a plant toward the light. More…

Alone together

Issue 2/2003 | Archives online, Authors, Reviews

The novel Näiden seinien sisällä me emme näy (‘Within these walls we are invisible’, Tammi, 2002) depicts the experience of motherhood. When a child is born, the balance of power in Ellen and Tapani’s home, in which they have been alone together for ten years, shifts. Ellen’s relationship with her baby is so all-embracing that her husband inevitably becomes an interloper; Tapani continually leaves his teacup on the bookshelf and shatters the secret order Ellen has created. Washing-up, gumboots, dirty shirts shackle her thoughts to the material, which humiliates her.

Katri Tapola (born 1961) has, in earlier prose-works, cast light on women’s interior landscapes; Kalpeat tytöt (‘Pale girls’, Tammi, 1998), which followed a woman’s growth, received the Helsingin Sanomat prize for a first novel. Even then, the narrative ran much deeper than the psychological level, to the time before the developed self. Tapola’s children’s book, Kivikauppaa ja ketunleipää (‘Stone trade and wood sorrel’) received the Arvid Lydecken Prize for children’s literature in 2002. More…

Surviving mammals

Issue 2/2003 | Archives online, Authors, Reviews

Arto Virtanen (born 1947) has written a couple of thousand reviews, including art reviews. His own career as a writer began in 1970 with the poetry collection Kaikki liikkeessä (‘Everything in motion’); it was followed by collections of short stories and novels. Virtanen, who trained at the Finnish Academy of Art, comes from a working-class background. His novels Tyhjä testamentti (‘Empty testament’, 1992,) and Koiran vuosi (‘The year of the dog’, 1995) deal with men’s mid-life crises through figures rather similar to their main characters. The same starting point is evident in his new collection of short stories, Vapiseva sydän (‘Tremulous heart’, Tammi,2002,). More…

Moving on

Issue 2/2003 | Archives online, Fiction, Prose

Extracts from the short story ‘Tunnin kuvat’ (‘One-hour processing’, from the collection Vapiseva sydän, ‘Tremulous heart’, Tammi, 2002). Introduction by Harry Forsblom

Last summer, when I was helping my brother with his move, he said I could take as many of his old LPs as I wanted. There were actually two of us on the job: his younger friend Timbe was along, and when we’d almost completely cleared out the flat and my brother’s two cellar closets (he’d rented an extra closet from the next-door flat, as he was submerging under the clobber lying around everywhere), he said the same to Timbe: ‘Just help yourself.’ The records we ourselves didn’t want would be chucked in the rubbish.

More…

Conserving memory

Issue 1/2003 | Archives online, Authors, Reviews

One could almost call Birgitta Boucht’s narrative style Chekhovian, even though the tales she tells in Konservatorns blick (‘The conservator’s gaze’) are not fictitious. The ‘gazes’ in these seemingly peripheral, marginal, trivial stories are all essentially rather similar; perhaps this is one aspect of what Boucht calls ‘the conservator’s gaze’: ‘When culture, society and our hopes for the future begin to crack, we automatically turn to our memories and examine them with a conservator’s gaze: at once tender and severe.’ Memories often contain a great deal which is both trivial and of little importance, yet it is precisely these banalities which can lead us to worlds filled with essential matters. More…

Close encounters

Issue 1/2003 | Archives online, Fiction, Prose

Stories from Konservatorns blick (‘A conservator’s gaze’, Schildts, 2002). Introduction by Fredrik Hertzberg

Unmarried and randy in a hotel foyer

The hotel foyer in Baghdad was swarming with people as anxious to advertise themselves as westerners at the opening of an art exhibition. I bumped into a man who quickly introduced himself, handed me his card and wondered whether I had an engagement that evening.

‘No,’ I said, truthfully.

‘Then kindly come home with me at nine,’ he said, with a florid gesture in the direction of my breasts.

‘No thank you,’ I answered. ‘I do have an engagement, I’ve just remembered.’ More…

Abrupt bewitchment

Issue 1/2003 | Archives online, Authors, Reviews

Jouni Inkala (born 1966) published his first collection of poetry in 1992. For some time it seemed that he had already developed his style to the limit, creating an intimate, concentrated tone with a characteristically calm rhythm and a pensive narrative voice. Words and images form a chain, which winds itself round a mystery: something which we can approach and redefine again and again, but which we can never fully apprehend.

In Inkala’s first collection, there are some poems which are so carefully polished, so skilful and considered, that even the dust seems to fall meticulously into place. He has gradually introduced points into his poems at which such control disappears and the writing suddenly ruptures. More…

Could you drop me a line?

Issue 1/2003 | Archives online, Fiction, poetry

Poems from Kirjoittamaton (’Unwritten’, WSOY, 2002). Introduction by Jukka Koskelainen

[Chekhov visits a French prostitute]

The room brightly lit like a library that stays open at night.
From the threshold onward, a scent of freshly cut damp grass
and resin. In the curtain swim black goldfish, gasping for air
and the carpet glows, all too red, a red carpet to hell.
The girl sits on the edge of the bed, her face
as expectant as a stuffed nightingale, stares inscrutably
at the guest, until the ice age his presence has brought
begins to melt a little around the edges. Drop by drop,
dripping. He takes his coat off, his shirt
but keeps the pince-nez on his nose. ‘Because without it,
I won’t be able to see you at all.’ The candle
smokes, hisses, even, if you listen to it up close.
On the wall next to the bed the guest’s shadow melts
into the girl’s. Then two horns appear on top of her head
and her shadow bursts into shaky laughter. Then she stops,
takes his mocking fingers into both her hands, kisses them
lightly and says, ‘Let’s do it quickly, and then you’ll just hold me quietly,
so I can tell you about my greatest dream.’
‘What is it,’ he asks, his hair entangled in hers. Now
there’s another scent in the room, the acrid odor of rails
made more intense by a hot summer’s day, and the girl
whispers: “That my two sisters and I could leave here
and go back to Paris. Home to Paris. Oh, Paris!” More…