Norvik Press is deeply saddened to hear the news of the death, after a short illness, of Professor Helena Forsås-Scott, one of our Directors and founder and Editor of our translation series Lagerlöf in English. Helena joined UCL in 1994 and retired in 2010 as Professor of Swedish and Gender Studies. Helena was a pioneering force in Gender Studies at UCL and a much-loved colleague, supervisor, mentor and teacher in the Department of Scandinavian Studies. Her major publications include Re-Writing the Script: Gender and Community in Elin Wägner (2009), Gender-Power-Text: Gender and Modernity in Twentieth-Century Scandinavia (2004), Swedish Women’s Writing 1850-1995 (1997) and A Century of Swedish Narrative: Essays in Honour of Karin Petherick (1994).
“a distinguished novel by one of Denmark’s foremost writers … compellingly readable” Paul Binding, Times Literary Supplement
The God of Chance focuses on the relationship between Ana, a high-flying Danish career woman from the international finance sector whose work is her life, and the young teenager Mariama, two women whose circumstances are completely different. Ana first meets Mariama selling snacks on a beach in Gambia, and the girl gradually becomes a substitute for the family she has never had. The novel moves to Copenhagen and then to London as Ana brings Mariama to Europe to be educated; the girl finds the cultural shock and living with Ana intensely difficult, whilst Ana’s obsession with her leads to her own carefully controlled life descending into chaos.
Translated by Janet Garton for Norvik Press in 2014, The God of Chance was originally published in Danish in 2011 and is the latest by the prize-winning Danish author Kirsten Thorup. She is well known for her series of four novels about little Jonna from the provinces, which are also about growing up into the rapidly-changing Danish society of the late twentieth century; and Bonsai (2000), an unflinching account of the scourge of Aids and its devastating effect on an ordinary family.
If you would like to purchase a copy it is available online and in all good bookstores.
A Good Read BBC Radio4 Tuesday July 16, 4.30pm
More about BBC Radio4’s A Good Read >
Join us in Soho on Tuesday May 5th, 6-7.30pm, for the launch of Klaus Rifbjerg’s Terminal Innocence. Featuring translator Paul Larkin and Dr Mikkel Bruun Zangenberg, Danish literary critic and Lecturer at the University of Kent at Canterbury. Paul and Mikkel will be in conversation, telling us all about Rifbjerg’s role in twentieth-century Danish literature, and discussing the perils and pleasures of translating a novel that has been described as the Danish Catcher in the Rye. Light refreshments and light entertainment from the 1940s supplied.
This event is free, but places are limited, so please RSVP by Thursday 30 April to firstname.lastname@example.org. The venue is the ArtFix Space, 27 Peter Street. London W1F 0AJ (ArtFix’s website is here: http://www.artfixlondon.com/)
You can read more about the novel and its author, Klaus Rifbjerg, in this recent blogpost.
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.
With 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 academia.edu – login may be required).
Terminal Innocence is available to order via The Book Depository.
Norvik Press is pleased to invite you to the launch of the podcast
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
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 and online >
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 www.foreignaffairs.org.uk >
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:
• 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).
• 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.
• 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, 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, 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.
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.
Norvik Press congratulates managing editor Professor Helena Forsås-Scott on the recognition of her work by the Swedish Academy.
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):
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).
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 and online.
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, Upcoming 2015/16)
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.
‘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.
Also 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 Script here.
Elin Wägner’s Penwoman, translated by Sarah Death, available at all good bookstores and online.
Helena Forsås-Scott’s Re-Writing the Script: Gender and Community in Elin Wägner,(2nd ed., 2014), available at all good bookstores and online.
The 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, Lejemorder.dk 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 and online.
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