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New publication: Klaus Rifbjerg’s Terminal Innocence, trans. Paul Larkin

On Easter Sunday, Denmark awoke to the news that one of its most prolific, influential, and best-loved writers had passed away after a long illness. Klaus Rifbjerg (born 1931) debuted as a poet in 1956, and authored some 175 works: novels, plays, collections of poetry and short stories, screenplays and many other genres. He was particularly influential as a pioneer of modernism in Danish poetry. His first novel, Den kroniske uskyld (1958), is still recognised as one of his masterpieces.

Den kroniske uskyld is narrated by Janus Tolne, a Copenhagen schoolboy whose life is enlivened by the arrival of a new friend, Tore Riemer. Through Janus’ eyes, we catch glimpses of life under the German occupation of Denmark (1940-45), but his main preoccupation is his beloved Tore and, by extension, Tore’s girlfriend Helle. Locked in a chaste ménage à trois with this glamorous couple, Janus navigates his way through the waters of teenage firsts: girls, drinking, graduating from high school. As readers, we live this perplexing and, at times mortifying process of transformation along with Janus. But we know, too, perhaps before Janus does, that Tore and Helle are caught in some strange stasis, trapped in a web spun by Helle’s monstrous mother. As the title of the novel suggests, their innocence seems to be a chronic and terminal condition.

Terminal Innocence coverWith his translation, entitled Terminal Innocence, Irish translator and author Paul Larkin has captured the playfulness of Rifbjerg’s language in this novel, as well as his ability to capture the joy of the everyday and generate fresh perspectives on existence. Den kroniske uskyld has been translated into eight languages, including French, German, Polish and Czech, but it has not been available in English until now – perhaps because of the challenges posed for the translator by the fresh, rebellious, exuberant voice of Rifbjerg’s narrator.

While Rifbjerg did not live to see his debut novel published in English, Paul Larkin discussed the translation with him in person. Paul’s account of their meetings is available in his essay ‘The Day I Met Klaus Rifbjerg’ (links to – login may be required).

Terminal Innocence is available at all good bookstores.

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Event: Launch of the podcast of Benny Andersen’s Play ‘The Contract Killer’

Norvik Press is pleased to invite you to the launch of the podcast

‘The Contract Killer’ by Benny Andersen, Translated by Paul Garrett Russell (Norvik Press, 2013).

Benny Andersen’s Play “The Contract Killer”

Translated by Paul Russell Garrett
Performed and Produced by [Foreign Affairs]


6.30 – 8.00 pm
doors open at 6:15 pm

The launch includes a panel discussion with Translator Paul Russell Garrett and [Foreign Affairs] Director Camila França

[Foreign Affairs] will perform a short excerpt from the play

Wilkins Garden Room
Bernard Katz Building
London WC1E 6DE
Enter via Gower Street main entrance

Refreshments will be served

This event is free but places are limited
Please RSVP by 10/03/15

Paul Russell Garrett
Camila Franca

About The Contract Killer by Benny Andersen:
Karlsen is a down-on-his-luck private investigator looking for work. When the only job on offer is a contract killing, Karlsen agrees despite his lack of experience. Things don’t go to plan and it seems the contract is open to negotiation. The play follows the twists and turns of an inexperienced contract killer with a weakness for turquoise dresses and wide-eyed women. This absurdist comedy by one of Denmark’s best-loved writers sees the fates of the eponymous contract killer, his target, the employer and his wife, twist, turn and hang in the balance. What is a life worth? Who will survive? And will the hair dye ever make it to Pakistan?

Available at all good bookstores.

About [Foreign Affairs]:
[Foreign Affairs] is an international theatre company based in London, UK. Formed in 2010 by Camila França and Trine Garrett,both professional actresses themselves, now adding director and producer to their well-established resumes. As their motto states; “[Foreign Affairs] was conceived with a simple idea: to cultivate a creative environment in which artists from all walks of life can come together to explore, work with and develop new, interesting and unusual ideas to showcase to the world”.​

More about [Foreign Affairs] at >

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Helena Forsås-Scott discussing “Nils Holgersson’s Wonderful Journey through Sweden” at UCL, 23 Feb 2015.

Helena Forsås-Scott will discuss Selma Lagerlöf’s Nils Holgersson’s wonderful Journey through Sweden (Norvik Press 2012 and 2014) at a panel discussion event at University College London.

On 23rd February the Department of Scandinavian Studies at UCL is hosting a panel discussion on Nordic children’s and young adult’s literature. What does writing for a young audience entail? Is writing for children any different from writing for adults? Do children’s classics age? How does modern technology affect the writing and reading processes? What is the relationship between entertainment and education? These are only some of the questions that the panellists will address from their perspective.

 The panel will consist of prominent authors and scholars:

Maria Parr

• Norwegian author Maria Parr, author of Vaffelhjarte, recently translated into English by Dr Guy Puzey (Waffle Hearts, published by Walker Books in 2014), and Tonje Glimmerdal (2009).

Harald Rosenløw Eeg

• Norwegian author and script writer Harald Rosenløw Eeg. His works include the novels Glasskår (1995, Shards of Glass), Yatzy (2004, made into a film in 2009) and Den hvite døden (2013, The White Death) and the film script for Tusen ganger god natt (2013, A Thousand Times Good Night), directed by Erik Poppe.

Merete Pryds Helle

• Danish author Merete Pryds Helle, author of a number of novels and short stories for adult and young audiences. She has recently completed her first interactive children’s story for iPads, Wuwu & Co.

Professor Helena Forsås-Scott

• Professor Helena Forsås-Scott, editor of the Norvik Press “Selma Lagerlöf in English” series, which provides English-language readers with high-quality new translations of a selection of the Nobel Laureate’s most important texts. Prof Forsås-Scott will focus particularly on Nils Holgersson’s Wonderful Journey through Sweden (translated by Peter Graves and published by Norvik Press in 2012, reissued in hardback in 2014).

Dr Erin Goeres

• Dr Erin Goeres, Lecturer in Old Norse Language and Literature, co-editor of the book Viking Age Dublin: Walking Tour and Activity Book (published by Centre for the Study of the Viking Age, University of Nottingham, 2014), presenting Viking heritage to children.

The event will take place in the Gustave Tuck Lecture Theatre, Wilkins Building, UCL. Doors will be opening at 6.15pm and the discussion will start at 6.30pm.

Map of UCL and directions to the Gustave Tuck Lecture Theatre.

The panel discussion will be followed by a reception in the Garden Room, Wilkins Building, UCL, and included in the entrance fee of £5.00 are a drink and light refreshments.

 To book your ticket please use the following link to the Eventbrite page.

 If you have any questions about this event, please contact Dr Elettra Carbone.

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Helena Forsås-Scott has been awarded a prestigious prize by the Swedish Academy.

Norvik Press congratulates managing editor Professor Helena Forsås-Scott on the recognition of her work by the Swedish Academy.

Helena Forsås-Scott

The prize, which is awarded as part of the Swedish Academy’s annual Belöningar ur Akademiens egna medel [Awards from the Academy’s Own Funds], is given to six people annually and is worth SEK 60,000. In her academic roles at University College London and The University of Edinburgh , as well as in her editorship at Norvik Press and various other publications, Helena has played a major role in celebrating and promoting Swedish literature in the UK.

Helena is currently editor of the Norvik Press “Selma Lagerlöf in English” series, which provides English-language readers with high-quality new translations of a selection of the Nobel Laureate’s most important texts and in 2014 Norvik Press published the second edition of Forsås-Scott’s book Re-Writing The Script: Gender and Community in Elin Wägner.

Norvik Press would like to extend to Helena its warmest congratulations. You can read the Swedish Academy’s announcement of the award here (in Swedish):

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New Release: Selma Lagerlöf’s “Charlotte Löwensköld”

Book cover Charlotte Löwenskjöld

Norvik Press is pleased to announce the publication of our second instalment to Selma Lagerlöf’s Ring Trilogy, the classic novel, Charlotte Löwensköld. Translated by Linda Schenck with a preface by our Selma Lagerlöf in English Series editor, Helena Forsås-Scott and a translator’s afterword. 290 pages (paperback).

A curse rests on the Löwensköld family, as narrated in the first instalment of Lagerlöf’s Ring TrilogyThe Löwensköld Ring.

Book cover Charlotte Löwenskjöld

Charlotte Löwensköld is the tale of the following generations, a story of psychological insight and social commentary, and of the complexities of a mother-son relationship. Charlotte is in love with Karl-Arthur – both have some Löwensköld blood. Their young love is ill fated; each goes on to marry another.

How we make our life ‘choices’ and what evil forces can be at play around us is beautifully and ironically depicted by Selma Lagerlöf, who was in her sixties when she wrote this tour de force with the lightest imaginable touch.

Selma Lagerlöf was awarded the Nobel Prize in Literature in 1909.

Literary agent, Lena Stjernström, recommends Charlotte Löwensköld as the best book to buy as a Christmas gift in 2014. (Svensk bokhandel 2014)

Available at all good bookstores.

The Ring Trilogy by Selma Lagerlöf
The Löwensköld Ring (Norvik Press, translated by Linda Schenck, 2011)
Charlotte Löwensköld (Norvik Press, translated by Linda Schenck, 2014)
Anna Svärd (Norvik Press, translated by Linda Schenck, 2015/16)

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Elin Wägner’s “Penwoman”

Elin Wägner in the 1920s. Image credit: Albert Bonniers Förlag

It’s 70 years since Elin Wägner, feminist, pacifist and pioneering environmentalist, renowned author of prose fiction and journalism, was elected to the Swedish Academy. She was only the second woman ever to be elected; the first was Selma Lagerlöf, also published by Norvik Press.

Penwoman, Wägner’s classic novel from 1910 about the Swedish campaign for women’s suffrage, translated by Sarah Death and published by Norvik Press in 2009, revolves around a young female journalist, as quick-witted as she is intrepid:

‘Well Penwoman, you’ll soon have driven them all away,’ said the Scanian, smugly admiring his pretty reflection in the landlady’s largest pier-glass from his vantage point in the most comfortable chair.

9781870041744Penwoman, catching her breath after the heat of the battle, looked up: ‘Oh no, do you think so? I don’t mean to. But it’s impossible for me to stay calm when anybody attacks women’s suffrage.’

‘No, it can’t be easy for someone with such a pugnacious spirit to be a woman,’ he teased. ‘Tell me, Miss Penwoman,’ he said, squinting up at her, as she stood by the door, ‘wouldn’t you love to be a man?’ Penwoman screwed up her left eye and pondered for a moment.

‘No, but wouldn’t you?’ she asked in turn.

In Sweden the novel remains one of Wägner’s best-known works. Witty and poignant Penwoman, ‘beautifully translated’ (Belletrista), offers incomparable insights into the Swedish suffrage campaign. Read more about Penwoman here.

9781909408142Also available from Norvik Press is Helena Forsås-Scott’s Re-Writing the Script: Gender and Community in Elin Wägner (2nd ed., 2014). The first full-length study in English of Wägner’s output, it covers texts representing a wide range of genres and shows some of her work to be considerably more radical than has been observed previously. The book has been described as ‘a standard work’ on Wägner (Avain – Finnish Review of Literary Studies). Read more about Re-Writing the Scriphere.

Elin Wägner’s Penwomantranslated by Sarah Death, available at all good bookstores.

Helena Forsås-Scott’s Re-Writing the Script: Gender and Community in Elin Wägner (2nd ed., 2014), available at all good bookstores.

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The Making of “The Contract Killer”. Paul Russell Garrett talks about his translation of Benny Andersen’s classic play.

The Contract Killer - CoverThe work of the translator involves a constant hunt for the “right” text. But sometimes the roles are reversed and the text starts haunting the translator until it is translated.

Mit navn er Karlsen. Lejemorder.

With these simple words, The Contract Killer had made its mark. Having had the privilege to be associated with a group of talented actors, mostly through their work with [Foreign Affairs], the voice of Adam Mannering had already begun dancing around in my head. His intensity, mannerisms and cockney accent provided an outlet for Karlsen, the bungling and would be contract killer, as I flipped through the dusty pages of Benny Andersen’s early take on Scandinavian crime fiction.

On a weekend break in Copenhagen to visit friends, nurture romance and enjoy some Danish ‘hygge’, I uncovered Benny Andersen’s ‘Lejemorderen og andre spil’. Browsing through secondhand book bins, trustingly left on the pedestrianised streets of the city centre, is a regular treat on trips to Denmark’s capital city. As a Daneloving Canadian, Benny Andersen was known to me mostly through his music and cultural significance. Had he written plays as well? The unassuming and dark-covered folio in my hand proved that he had done. The reverse cover revealed that these plays had been performed on Danish and Swedish radio in 1969 and closer inspection revealed its subsequent publication in 1970 by Borgen. Yes, just like the Danish TV series. There was no time for flipping through the first pages, it simply had to be mine. And for ten Danish kroner, this was a simple transaction. Except that the shop was shut for lunch. Would a ten kroner piece left on the doorstep suffice? No, that wouldn’t do. Lejemorderen was slipped back into obscurity with the hope that it would remain that way a little longer. Two days later I returned to the scene of the crime and Lejemorderen was exactly where I had left it. The shop doors were open and I placed a single coin eagerly into the shopkeeper’s hand.

Reading Danish unchecked is usually quite straightforward but the urge to immediately translate into English sometimes makes the task more complicated. During my first look at Lejemorderen, I would helplessly read a line, then translate, read another line, then translate, desperate to know if the dialogue was equally as clever and engaging in English. It was. My spontaneous outbreaks of laughter proved too much for my Danish wife to ignore. I read out a few of the lines to her, and it seemed they were even funnier to a native speaker. I quickly crawled back into my shell to keep the enjoyment to myself and protect The Contract Killer from being swooped out of my hands. I knew immediately that I wanted to translate this piece, and a frantic search to determine if anyone else had beaten me to it ensued. The only discovery of note was a website, where apparently contract killers can be hired on the world wide web. Only in Denmark.

Several weeks after believing that my many e-mails to the Danish publisher had been ignored, I received a pleasant e-mail from the wife of Benny Andersen, Elisabeth Ehmer. Benny Andersen maintained the rights to this little known play, and he was very happy for me to proceed with the translation, provided they were informed of any plans for publication or performance. Permission for several readings and the première were later generously granted to us by Miss Ehmer and Mister Andersen, and an eventual introduction at their residence was the culmination of this lovely e-mail exchange. The meeting with Benny Andersen and his wife was a warm and wonderful affair but at the time the experience didn’t seem overly significant to me. When I later found myself drinking Benny Andersen’s favourite drink of Campari and white wine and repeating his colourful stories, I then realised how privileged I was to meet and work with such a wonderful writer.

I can’t say that translating Lejemorderen was difficult, there were awkward passages, frantic searches through various coloured dictionaries and pleading questions to the resident Dane which were often met with spurious replies questioning who the translator and Danish linguaphile was. One such exchange occurred as Karlsen is about to take out his mark:
Hvad med at bestille lidt champagne – hva? – sådan på falderebet, mener jeg.

I had a good sense for the meaning, but neither I nor the Dane knew that the phrase was referencing the launching of a ship. The champagne of course is smashed against the ship, but faldereb, are the ropes that line the gangplank up to the ship, helping passengers avoid falling into the waters below. In colloquial terms, it is translated as ‘at the last moment’ but after endless consultations, I eventually decided on ‘last requests’.

Once the translation of Lejemorderen was complete, there was never any doubt that a performance would be the next step; that process began one evening over caipirinhas and cold beers. The aforementioned group of actors were gathered together to perform an initial reading and they effortlessly breathed life into the characters. Encouraging support was expressed by the readers over the quality of the dialogue and translation, to which I could only respond that I was lucky to be working with the words and genius of Benny Andersen. However, certain tones, intonations and other linguistic subtleties were not always expressed in the same way as I had imagined. I found myself thinking of Roland Barthes’ critical ideas from The Death of the Author, that as soon as the words have been written, they no longer belong to you. They could be read, interpreted and expressed in entirely different ways from my own. It took some time to accept that The Contract Killer was being opened up to countless new and wonderful possibilities. This was the most difficult step in the whole process: letting my words be taken over by others. Nonetheless, the enthusiasm and energy expressed by those involved, coupled with my own excitement at seeing the project come to fruition, allowed me to slowly relax my grip over The Contract Killer.

Next up, a private reading of The Contract Killer at London’s latest Danish import, Nyborg’s Kitchen, complete with Tuborgs and Gammel Dansk, smørrebrød and cheese puffs, and the music of Povl Dissing and Benny Andersen playing quietly in the background. The reading was a resounding success with the howls of laughter from the benches on the left, the thoughtful murmurings from the right and supportive voices from the centre intermingling to join the worlds of theatre, academia and friendship in approval. This strong reception paved the way for A Night of Crime and the opportunity to present The Contract Killer to the wider world.

Unfortunately the event did not go off without a hitch. Several of the original actors were unavailable for the lucky night (chosen by our resident astrologist), including Adam Mannering, the infamous contract killer, who was due to become a father on that very same evening. Organising and promoting the event was a huge task, which I enthusiastically assisted in alongside [Foreign Affairs]’s cofounders, Trine Garrett and Camila França. Our plans for the evening were not always the same, and once again I was forced to remind myself to allow the professionals to carry out their own vision for the show. A Night of Crime emerged from Trine and Camila’s creative genius: Ben Stanley’s Ouroboros would serve as an appetiser and my own version of Inger Christensen’s Dialog would bind the evening together with the main event. An unused shop-front in Hackney Wick presented itself as the ideal location: Blacked-out windows and a warehouse style atmosphere provided the setting that few traditional theatregoers would be accustomed to. Now we just had to fill the space. Hourly checks on ticket sales were not unusual for me, as I anticipated the encroaching evening with a good deal of nerves. Why had only two people bought tickets?!? No wait, there were three now, phew. Eventually I was able to calm myself with the belief that the actors would make the show a success no matter how many people were witness to it. Standing by the door on the night of the show, however, I was pleasantly amazed as a queue of known and unknown faces sought entry outside this random location. My nerves had been settled by a gentle shot of tequila moments before with a loyal group of friends and colleagues who had come to share in my excitement. Any trepidation I had held over the use of the new actors had been quelled during the final warm-up session only an hour before the show. Darren Stamford, aka, The Contract Killer, was burning up the stage and erased my disappointment over the loss of the previous killer. Adam Mannering had managed to attend the show in any case, and even he had to admit, despite his sadness for missing out, that the new Contract Killer had been outstanding.

During the show, I listened to my own words being performed with some anxiety. I waited for a word or a sentence to be missed or stumbled upon, or worse still, to fall flat on the audience. Instead I found myself laughing uncontrollably to the lines that I had heard, that I had imagined and formed, that I had poured over countless times. They were no longer mine; the actors crafted them, the audience absorbed them, and in the excited conversations which followed, they were enjoyed and repeated over and over again. The transformation was complete: The words had been taken from me, as they had been previously taken from one Benny Andersen and soon, The Contract Killer will once again be passed on to new audiences.

The Contract Killer was first performed
in 2011 by [Foreign Affairs].

The Contract Killer by Benny Andersen, translated by Paul Russell Garrett. Published by Norvik Press in 2013. Available from all good bookstores.

Paul Russell Garrett is a freelance translator. He has a BA in Scandinavian Studies from UCL. He is currently working on the translation of a Danish children’s novel supported by the Danish Arts Council.

This article was first published in Danish Review in 2012

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Sarah Death awarded the medal of the Order of the Polar Star

Sarah Death
Ambassdor’s Residence, Minister Counsellor Ulrika Funered and Dr Sarah Death. Image credit:

Sarah Death, one of our Managing Editors of Norvik Press, has been awarded the medal of the Order of the Polar Star, a Swedish order of chivalry, for her services to Swedish literature and language abroad.

Sarah has served as the editor of Swedish Book Review for over ten years and is a previous recipient of the George Bernard Shaw Prize (twice) and the prestigious Swedish Academy Translation Prize.

Norvik Press congratulates Sarah on this great honour and thanks her for her hard work and dedication.

Further details are available on the Sweden Abroad website.

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The Launch of August Strindberg’s “The Defence of a Madman”

le plaidoyer11On the 27th of October we had the pleasure of launching the first complete translation in English of August Strindberg’s The Defence of a Madman at the wonderful Grant Museum of Zoology, UCL. A very interesting discussion with the translators Carol Sanders and Janet Garton and Strindberg expert Peter Graves chaired by Tim Mathews was enjoyed by all.

This book is now available at all good bookstores and online

This autobiographical novel is based on Strindberg’s life in the 1870s and 1880s, and focuses on his marriage to Siri von Essen. It purports to be a vehicle for explaining to himself his role in the relationship from its ecstatic beginnings to its catastrophic conclusion. Strindberg was writing at the time of the modern women’s movement and the intense Nordic debate on sexual morality, and the novel echoes on an anguished personal level the theme of the battle of the sexes. It is one of his many and varied attempts to write his own life, to use himself as raw material.

The novel was written in French and published as Le Plaidoyer d’un Fou in 1895. However, the French editor had made radical alterations to Strindberg’s text – how radical was not discovered until 1973, when the original manuscript came to light. Previous translations into English have been made from the published French version or the Swedish translation of it; this is the first translation of Strindberg’s original text.

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Nils Holgersson’s Wonderful Journey through Sweden – The complete volume in hardback out now!


Norvik Press is thrilled to announce our complete hardback version of Nils Holgersson’s Wonderful Journey through Sweden by Selma Lagerlöf is now in print! This wonderful new edition with 20 illustrations from Bea Bonafini is now hot off the presses.

Available in all good bookstores and to order online.

Nils Holgersson’s Wonderful Journey through Sweden (1906-07) is truly unique. Starting life as a commissioned school reader designed to present the geography of Sweden to nine-year-olds, it quickly won the international fame and popularity it still enjoys over a century later. The story of the naughty boy who climbs on the gander’s back and is then carried the length of the country, learning both geography and good behaviour as he goes, has captivated adults and children alike, as well as inspiring film-makers and illustrators. The elegance of the present translation – the first full translation into English – is beautifully complemented by the illustrations specially created for the volume.

Selma Lagerlöf was awarded the Nobel Prize in Literature in 1909.

cover‘A new version of Selma Lagerlöf’s classic tale reveals a powerful, lyrical work for children and adults.’
‘The personal is the geographical, the geographical becomes the personal, and Peter Graves’ superb, attentively faithful new rendering of Selma Lagerlöf’s masterpiece makes us understand this truth afresh.’

Paul Binding
Times Literary Supplement