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Long-awaited rediscovery of visionary Swedish writer Birgitta Trotzig and her mythic, modernist classic, Queen
Birgitta Trotzig's 1964 novella is the story of a girl named Judit who is stubborn and singular, distant and unyielding. She has a love of lilies. She is called Queen. Her entire world exists within Bäck, a village in the south of Sweden so named because a brook bends through it. At the age of nine, Judit's mother falls ill during childbirth and passes Judit the strong little body of her brother Viktor. A sharp gleam springs forth from Viktor's pale-blue infant eyes, and the two are bonded for life. Together with their wordless brother Albert (one who prefers the warm silence of animals), Viktor, Albert, and Judit form a precarious family. In dark and mystical waves of language, Judit's inner life is awakened to the reader. She has her secrets. The Queen prizes her alias like a precious gemstone; she dreams one day that the master gardener at Trolle Ljungby Castle will select her very own flower bulbs for planting; and she holds suspicions like hot stones to her heart. When Viktor decides to emigrate to the United States, the ground beneath Judit's feet forever shifts.
The English-language discovery of Birgitta Trotzig, one of the greatest Swedish writers of all time, is long overdue. Her dark, spiritual writings construct a truth and vision all her own. Trotzig's characters are ordinary and troubled, their lives barren and merciless, but an otherworldly light sweeps across them, making them stand with spectacular clarity. "To me, Birgitta Trotzig is a giant. It's such a rich and fascinating body of work. She's Nobel-prize class. Reading Birgitta Trotzig is like walking into a dark cathedral. At first it's just dark, but after a while the eyes adjust, and you begin to make out the colors." –Eva Ström, Sveriges Radion/Sweden's Radio
"It is difficult to overestimate the impact Birgitta Trotzig's novels have had on Swedish literature. Her penetrating explorations of human condition and existence has left its mark on generations of authors and their writing. She never ceases to captivate. Her dystopian landscapes, darkening worlds and damaged human destinies always contain their opposite: vision, light, healing. But only as long as someone has the power to sow the seeds of restoration, in order to repair a broken world. Perhaps her books, and her fervent appeal, her seriousness, have never been as relevant as now. Our age of destruction, predation and authoritarian violence needs her." –Hanna Nordenhök
"We are very dependent on language to have feelings at all. If you have an impoverished language, you have less emotion. And if you have less emotion, you understand less about your fellow human beings. Language and complex poetic language truly have a fantastic task: helping people to find themselves and to find out what they really are and really are experiencing. And that's why I'm not afraid to write in a complex way because I know that there are people who can use these complex models in their own spiritual life. There aren't that many, but they exist, and it is for them that I write." –Birgitta Trotzig
"Birgitta Trotzig was the one who showed me how language can open itself out and embrace. I needed to soften up, I needed a softer language, and it was she who showed me it was possible . . . conjurs a soft, gliding movement the reader feels in her body, with each adjective the image opens out and expands further. Language is both meaning and music, image and body. Something is held by this language. You can lean into it, as if the language itself were mother, as if the language itself were hands. To me it was trust, it seemed there was in Trotzig's writing a trust of being itself, which I simply allowed to percolate in me, I read nearly everything she wrote, I doused myself in her language, which dared to lean, which holds, which gives." -Hanne Ørstavik Birgitta Trotzig is one of
Birgitta Trotzig's 1964 novella is the story of a girl named Judit who is stubborn and singular, distant and unyielding. She has a love of lilies. She is called Queen. Her entire world exists within Bäck, a village in the south of Sweden so named because a brook bends through it. At the age of nine, Judit's mother falls ill during childbirth and passes Judit the strong little body of her brother Viktor. A sharp gleam springs forth from Viktor's pale-blue infant eyes, and the two are bonded for life. Together with their wordless brother Albert (one who prefers the warm silence of animals), Viktor, Albert, and Judit form a precarious family. In dark and mystical waves of language, Judit's inner life is awakened to the reader. She has her secrets. The Queen prizes her alias like a precious gemstone; she dreams one day that the master gardener at Trolle Ljungby Castle will select her very own flower bulbs for planting; and she holds suspicions like hot stones to her heart. When Viktor decides to emigrate to the United States, the ground beneath Judit's feet forever shifts.
The English-language discovery of Birgitta Trotzig, one of the greatest Swedish writers of all time, is long overdue. Her dark, spiritual writings construct a truth and vision all her own. Trotzig's characters are ordinary and troubled, their lives barren and merciless, but an otherworldly light sweeps across them, making them stand with spectacular clarity. "To me, Birgitta Trotzig is a giant. It's such a rich and fascinating body of work. She's Nobel-prize class. Reading Birgitta Trotzig is like walking into a dark cathedral. At first it's just dark, but after a while the eyes adjust, and you begin to make out the colors." –Eva Ström, Sveriges Radion/Sweden's Radio
"It is difficult to overestimate the impact Birgitta Trotzig's novels have had on Swedish literature. Her penetrating explorations of human condition and existence has left its mark on generations of authors and their writing. She never ceases to captivate. Her dystopian landscapes, darkening worlds and damaged human destinies always contain their opposite: vision, light, healing. But only as long as someone has the power to sow the seeds of restoration, in order to repair a broken world. Perhaps her books, and her fervent appeal, her seriousness, have never been as relevant as now. Our age of destruction, predation and authoritarian violence needs her." –Hanna Nordenhök
"We are very dependent on language to have feelings at all. If you have an impoverished language, you have less emotion. And if you have less emotion, you understand less about your fellow human beings. Language and complex poetic language truly have a fantastic task: helping people to find themselves and to find out what they really are and really are experiencing. And that's why I'm not afraid to write in a complex way because I know that there are people who can use these complex models in their own spiritual life. There aren't that many, but they exist, and it is for them that I write." –Birgitta Trotzig
"Birgitta Trotzig was the one who showed me how language can open itself out and embrace. I needed to soften up, I needed a softer language, and it was she who showed me it was possible . . . conjurs a soft, gliding movement the reader feels in her body, with each adjective the image opens out and expands further. Language is both meaning and music, image and body. Something is held by this language. You can lean into it, as if the language itself were mother, as if the language itself were hands. To me it was trust, it seemed there was in Trotzig's writing a trust of being itself, which I simply allowed to percolate in me, I read nearly everything she wrote, I doused myself in her language, which dared to lean, which holds, which gives." -Hanne Ørstavik Birgitta Trotzig is one of