I start with the obvious: it is difficult to read Ebba Witt-Bratt’s Century love war as text. The head is released images and flits around. Horace Engdahl as a newly elected member of the Academy with the youngest son on the arm. With one of those cute strawberry hat, the child then. The cover of an issue of Monthly Journal , with both Horace and Ebba, so familiar but coolly photographed. Mr and Mrs culture, education and icy conditions.
So where can you hold on. Ebba Witt-Brattström and Horace Engdahl has long been a medial successful couple. Memories of her altercation with Tina Rosenberg , the thesis (epochal), debates, scolding the buckets against queer feminism. The colorful, or just strong.
Now, they have gone through a divorce. Apparently. Century’s love of war is something as unusual as a point novel – a short novel that is closer to poetry than prose. Maybe put the point well.
The book is especially text and deserves to be read as such, how much the retina than filled by another. While you can not pretend that a story from real life does not exist. Century Love Wars is close to the book as the title alludes to, Marta Tikkanen Century Love Story , and a newer soulmate could be Lena Andersson Unauthorised procedure – a literary processing which is porous, leaking reality.
There are types that speaks, She and He. He is self-sufficient, successful, full of his career. She seems more tentative, but also bitter and sad. How far is both a common gender patterns. It is he who is violent, who calls her pussy and bitch. She was seeking contact. He who feels misunderstood. She even scared. He whose contempt finds its form in elegant formulations.
Liberating is , nothing is what it called betrayal consists in. It has been committed. And love turned inside out and became hatred. Anyone who experienced a kärleksförhållandes end can probably recognize themselves, though not in detail. Although thirty years spoken of in the text, is a long time so have most certainly hinted at it: the mystery, when the dance is a dance of death.
The text is full of pain. It’s like reading a long contentious, with short breaks of reconciliation or maybe just right breaks. For there is no mercy. When everything is broken and boundaries are trampled. A ältande of injustices and things that would have been different.
So a beautiful moment: the common memory of how he and she reaches another in playfulness, while the children are somewhere else and noise. Life as a parent along had a meaning, not what came after.
“Century love war” is as an image that can be two completely different images simultaneously. On the one hand, with strong personal coupling, despite their anonymity. On the other, it slips easily into a tradition where heterosexual love Traderas terrible monotony: He and She are from Mars and Venus, can never understand each other. The inequality begets attraction and love, and it will also give birth to hatred. We can be the story – it’s full of clichés and really totally boring.
A literature professor does not commit literary debut without strössla their learning. Blasted into the many dialogues – which by the way is limping, so that quarrels usually – are poetry, song and play quotes and little else from a common treasure of text. One of the initial quotes are taken from the Heinrich von Kleist Penthesilea (1808), a piece that turns the mythical love story between Achilles and Penthesilea amasondrottningen. In the ancient story becomes Achilles in love with the woman he just killed, of Kleist’s Amazon as more or less tearing Achilles in pieces of love, lust and hatred. Rarely has love and death interaction depicted so passionately.
Witt Brattström choose to quote precisely this piece ( “kissing, biting, it’s so similar, / and the one that really loves, / confuse easily the one with the other.”) Gives a certain resonance to her own text. The quotation is challenging and a little unexpected, not like those who are thrown out later – single-row outbursts, sometimes screaming uppercase. It connects the novel to both eternal ancient myth and outsiders misunderstood authorship.
Choosing readings is as said not easy. I prefer to finish reading this paragraph novel, the drama looks to be. A poetic piece, a dialogue in which her fear of his violence is real, where heterosexual love all the posturing exposed.
Shape – the monotonous repetition of he said, she said, the short poem as radfallet – reflects the big claims as the title thereof provides that. The lines in a normal running text had seen quite commonplace out, now they are charged, benefiting from a reading slowed down, they become deep, atmospheric. Sometimes, oddly enough, even beautiful.
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