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Book descriptionI was going to make a wisecrack about how its ironic that this is the first Swedish book Ive read considering the provenance of most of the shelves my libraries have occupied, but after a few pages of the light, exuberant style of Lagerlofs prose my memory was jogged and I faintly recalled enjoying Astrid Lindgrens books as a young child. Its strange how language-culture somehow retains a candence through translation – I feel the same about literature from Russian, Portuguese and Japanese. Linda Schencks loving and clearly skilful working of this piece of brilliance into lucid contemporary English makes a sparkling gift of it to Anglophones who dont read Swedish.Well then. A voice clear as an icy mountain spring and yet somehow cosy and comfortable tells the tale of General Lowenskolds ring in the mode of modern fairytale that has a wise but humble narrator occasionally addressing the reader, selective character development and ethical ambiguity rather than archetypal villainy and heroism, and critical consciousness of gender and class context, yet retaining the framework of legend and adventure sweeping through the lives of people in a variety of social positions, from the smallholders daughter to the king.What is sparkling about this from the first is the creative staging of uncertainty. With the farcical conversation between Bard Bardsson and his wife (whose initiative and extensive speaking role make it seem that she has been denied a name quite pointedly to indict the erasure of fairytale wives generally) the reader is forced to conclude that we cant trust the narrator or anyone else to mean what they say, but in the process of breaking down our credulity much tasty cultural information is nonetheless conveyed. Each scene will add to this keen-eyed rendering of a society; the universal of fairytale venture is kept in balance with the material and particular. Selma is equally compelling in her dramatic flourishes of cultural explanation, such as the scene of the king in the church, and in her casual, ingenious dialogue.My favourite section is the narrators comment on the importance of the fire in peoples homes:every farm had its comforter. One that came to rich and poor alike, that never failed and never tired.Yet dont imagine that this comforter was anything solemn or splendid, like the word of God or peace of mind or the joy of love! And dont think it was anything base or low, like drinking and gambling. It was simply something quite innocent and ordinary, it was nothing but the fire, burning on the hearth on the winters night[...]But the fire could do more than warm and light up and cook meals; it could do something more remarkable than hiss, crackle, spit and smoke. It could revive the love of play in each human soul.For what is the human soul but a playful flame? It flickers in and above and around us, just as the flames in the fire blaze in and above and around the rough wood.So when those who had gathered around the fire on a winters night had sat or a while looking into it, the fire began to speak to each and every one of them in its own tongue. Kindred soul of mine, said the flame, are you not a flame like me? Why so gloomy and sad? -Kindred flame, answered the human soul, I have been chopping wood and keeping house all day. All I can do is sit staring into you. - I know all that, said the fire. But its evening now. Do as I do – flicker and flare! Be playful! Give warmth!And the souls would obey the fire and begin to be playful. They told stories, they guessed riddles, they turned fiddle strings, and they etched roses and vines into their tool handles and tack. They shared games and melodies, played forfeits and quoted old proverbs. And all the time the icy cold was thawing from their limbs, the peevishness from their spirits. They livened up and began to enjoy themselves. The fire and the games by the fireside gave them the will to go on, however difficult and poverty-stricken their lives were.One of the main ingredients of these evenings by the fire must have been the stories about great feats and adventures. Everyone, old and young alike, loved to hear stories, and the supply was endless. For, thank heavens, there have always been feats and adventures galore.This hopefully gives some flavour of Selmas style here and the quality of her subtexts, the glories in the margin. I thought of the Lutrell Psalter, many pages of which I have had to good fortune to see, and of the surpassingly lovely short film made here in Lincolnshire to, I suppose, bring it to life although nobody and nothing will convince me that any art anywhere is more alive than the Luttrell Psalter.While the action at first revolves around men, the focus shifts in the scene where Marit first appears, jostled, anxious and marginal, she manages to come to the centre, and takes the floor for the following chapter before passing the baton to Malvina, whom Schenck sees as Lagerlofs avatar. Brief sketches of the lives of these women are drawn with feminist consciousness. Malvina is housekeeping for a rich family, and twice in relation to this we hear A poor girl must think twice before she gives up a good place. I dont want to waffle on since Selma has set a shining example of concision in this novel of ninety pages. I will end by saying that they are all perfect, and that lovers and haters of European fairytale worlds will most likely be equally enchanted!The Löwensköld Ring by Selma Lagerlöf find audio pc bookstore book
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