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{PDF EPUB} Moln by Karin Boye Karin Boye Read Ebook {PDF EPUB} Moln by Karin Boye Karin Boye. Karin Boye was born in Gothenburg and from 1909 grew up in Huddinge outside Stockholm. Her father was a civil engineer; she herself completed her schooling at Åhlinska girls’ school, went on to qualify as a teacher in 1921, and graduated in 1928 after studying in Uppsala and at Stockholm University. She earned a living as a writer and critic for newspapers such as Social-Demokraten and Arbetet , was a member of the committee and editorial team of the far-left movement Clarté from 1926 to 1932, and was also attached to the editorial committee of the new modernist periodical Spektrum , 1931-1932. In 1932 she underwent psychoanalysis in Berlin. She was married to Leif Björk from 1929 to 1931, but the couple never had children, and from 1932 to 1941 she lived together with the young German Jew Margot Hanel from Berlin. In April 1941 Karin Boye committed suicide. Her debut collection Moln , 1922, which like her following works Gömda land , 1924, and Härdarna , 1927, had a classic, clear form and a particular rhythm, mirrored the personality of an idealist and aesthete. Beginning with her poetry collection För trädets skull , 1935, she changed to an advanced, modernist style of poetry with imagery characterised by myth and depth psychology. This collection, albeit misunderstood by the traditionally-minded literary critics of the time, is now considered to be one of Sweden’s most brilliant, modernist works of poetry. Her debut prose work Astarte , 1931, is a Marxist-inspired piece questioning capitalist consumerist ideology and the perception of women. In her autobiographical work Kris , 1934, she considers lesbianism, using the form of existentialist discussion. The pinnacle of her writing, however, is Kallocain , 1940, which offers a terrifying vision of the future, of a world destroyed by war between superpowers and atomic weapons. Karin Boye has often been seen as a starry-eyed aesthete preoccupied by the mysteries of her own personality; however, in her poetry, essays, and works as a critic she showed herself to be an author who was highly aware of her period and a political radical who took up the struggle against prejudice, the oppression of women, war, and dictatorship. She was strongly influenced by Elin Wägner and those connected with the periodical Tidevarvet . Further reading. Amanda Doxtater: "Women readers, food and the cunsumption of text: Karin Boye's Kris and Monika Fagerholm's Diva" in Gender, power, text: Nordic culture in the twentieth century , 2004. Paulina Helgeson: "Karin Boye: posthumous excuses" in: Scandinavica , (40), 2001. Ellen Mortensen: "'All that is nameless and new': exploring queer paths in Karin Boye's poetry" in: Scandinavica (40), 2001. Karin Boye. Our editors will review what you’ve submitted and determine whether to revise the article. Karin Boye , in full Karin Maria Boye , (born Oct. 26, 1900, Gothenburg, Swed.—died April 24, 1941, Alingsås), poet, novelist, and short-story writer who is considered to be one of the leading poets of Swedish modernism. She studied at the universities of Uppsala and Stockholm, became a leading figure in the Clarté Socialist movement inspired by the French novelist Henri Barbusse, and worked on Spektrum, a review propagating psychoanalytical theory and modernistic literary views. Her five collections of poems—beginning with Moln (1922; “Clouds”) and ending with the posthumously published De sju dödssynderna (1941; “The Seven Deadly Sins”)—show the evolution of her outlook and style from the simple expression of a middle-class girl’s dreams and a young radical’s eager acceptance of life to bolder images, wider perspectives, and feeling for the problems of mankind. Among her novels are Kris (1934; “Crisis”), based on her struggle to accept her lesbianism, and Kallocain (1940; Eng. trans.,1940), which describes the insupportable oppression of a totalitarian society of the future. During World War II Karin Boye committed suicide. This article was most recently revised and updated by Melissa Albert, Research Editor. Svenskt kvinnobiografiskt lexikon. For more advanced searches and combinations please use the Språkbanken tool Karp. This is particularly relevant for researchers seeking to analyse the information contained in SKBL (Biographical Dictionary of Swedish Women). Karin Boye. 1900-10-26 — 1941-04-24. Author. Karin Boye was a groundbreaking lyricist and writer of modernist prose. She sought a new form of norm-breaking equality between the sexes both in her lifestyle and in her writings. She was also involved in the interwar period's re-evaluation of fundamental cultural values. Karin Boye was born in Gothenburg on 26 October in 1900. Her family was part of the well-off bourgeois element of society. Her father, Fritz Boye, was a civil engineer. Both he and his wife, Signe Boye, were actively involved in liberal and pacifist efforts. Karin Boye had two younger brothers named Sven and Ulf. She learned to read and write at an early age and fell in love with the world of fairy-tales, unsurprising given her rich imagination. Following two years’ attendance at the Mathilda Hall girls’ school in Gothenburg she and her family moved to Stockholm in 1909. There she attended the Åhlinska school. In 1915 the Boye family settled in a house called Björkebo in Huddinge. Whilst at high school Karin Boye joined Kristliga gymnasistföreningen (the Christian high school students’ society). While attending a summer camp at Fogelstad manor she met Anita Nathorst, who was one of the camp leaders. Nathorst made a deep impact on Karin Boye and they formed a close friendship. Karin Boye gained her school-leaving certificate from the Åhlinska school in 1920. She then began to attend Södra seminariet (teacher-training programme) in Stockholm in order to become a public-school teacher. She had no interest in becoming a special subject teacher. Her ambition, in contrast, was to use her role as teacher to exercise influence over children’s education in ethics. However, the personal crisis she experienced whilst training to become a teacher had in the meantime led her to move away from her earlier Christian beliefs and away from the heterosexual concept of love which was the only legally recognised form of love at that time. She matriculated at Uppsala university where she read Greek, Nordic languages, and literature. She was actively involved in student life and earned respect for her two poetry collections Moln , from 1922, and Gömda land , from 1924. She was elected chair of Kvinnliga studentföreningen (the female students’ society) and in 1925 she joined the Uppsala division of Svenska Clartéförbundet (the Swedish Clarté league) where she made a lot of new friends. In 1926 she transferred to Stockholms högskola (college) to read history. She continued her affiliation with Clarté, serving on the editorial board for the league’s organ from 1927 onwards. That same year she also published another poetry collection, entitled Härdarna . Once she had gained her Master of Arts in 1928 she then accepted various temporary teaching posts whilst continuing her involvement within Clarté, working as a translator, and producing her own writings. The influence Nietzche had on Karin Boye’s early work is clearly evident in her debut collection, Moln . Karin Boye uses her free creative imagery inspired by nature to describe the miracles which have enabled the narrator to be a part of the struggle enveloping the concept of humanity and morality. Transgender sexuality is yet but a peripheral theme of her writings. It is primarily expressed by using the image of a snail which has encircled itself around its secret. Two years later Karin Boye published Gömda land in which she redefines previously culturally subdued powers of chaos and turns them into fertile forces in the service of renewal. At the same time, Karin Boye abandons Nietzsche’s extreme individualism. This dismissal is portrayed in her poems “Till en vän”, “Sånger om ödet”, and “Sköldmön”. Karin Boye continued to search for a place within language which would not imprison her within a fixed power hierarchy but within which she could be viewed as a freely creative female subject. She put both the male-defined concept of ‘god’ and the term ‘woman’ up for grabs. In Karin Boye’s third poetry collection, entitled Härdarna and published in 1927, the central symbolic image is fire. In the lengthy introductory poetry cycle the narrator celebrates her beloved with a lyrical force which is reminiscent of the biblical Song of Solomon. She piles image on top of image and endlessly creates new similes for her burning attraction. Freud’s writings had clarified for many that confronting the idealistic concept of humanity was an “acid test” that all people had to go through. The thought of neither being dominant over nature nor over one’s own domain scared most people. In contrast, Karin Boye created new images of a narrator who threw off their fear- and shame-woven armour and was now ready to meet “life’s powers unarmed”. At the same time, in the poem “Lilith”, she provides a shocking image of her own vulnerable position. When the creative process takes her deep into her own personal depths she is comforted by Lilith, who represents all who are condemned, and by eternal rest. When the Clarté circle no longer saw any political value in psychoanalysis but sought to refine their political and financial focus Karin Boye continued the circle’s former attempts at merging Marxist social analysis with psychoanalysis and tried to turn it into a form of liberation ideology. Her 1931 novel Astarte portrays her blistering criticism of a society in which God has been replaced by Mammon in norm-defying poetic prose. This is a society in which the Semitic fertility goddess of Astarte, who once ruled over both heaven and earth, has now become a mere mannequin.
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