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SwedishLiteratureExchange

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ComiCS, with portraitS

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this is your guide to brilliant independent Swedish comic books and graphic novels. the artists and books presented here have been selected by writer and critic alexandra Sundqvist, who also wrote the accompanying text. this booklet does not aim to cover everything published in Sweden. rather, the selection is an expression of the writer’s personal views.

this publication is part of the Swedish arts Council’s duties to coordinate efforts aimed at enhancing the status of high-quality Swedish literature outside of Sweden, and to support international literary collaboration. the Swedish arts Council administers grants and provides information abroad about Swedish literature and Swedish authors.

we offer support for translations and other projects, as well as travel grants for publishers, organisations and translators of Swedish literature. publishers can apply for translation grants to publish Swedish literature, including comic books and graphic novels. foreign and Swedish organisations and publishers can apply for project grants for literary events featuring Swedish literature, including comic books and graphic novels.

You can find out more about the Swedish arts Council’s role as a hub for international literature exchange at www.swedishliterature.se.

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Political comics reveal social struc-tures by closely observing situations that reproduce or reinforce social and cultural conventions such as gender- related power dynamics. Liv Strömquist, a comic artist whose works reference an eclectic list of sources ranging from the Bible to American TV series, has taken ex-amples from religion, politics and pop culture and drawn the pants off the patriarchy in her five published volumes. Nina Hemmingsson, Sara Granér and Sara Hansson are three more artists who work in a visual world where events and absurdist humour are employed to describe experiences that are part of a larger structure. The autumn of 2014 saw the publication of an anthology entitled Kvinnor ritar bara serier om mens (‘Women Just Draw Comics about Periods’) in which some 30 comic artists address the subject of menstruation with the aim of smashing that taboo and getting us to talk about some red-letter days. Alongside graphic titles that tackle political and social issues, highly personal autobiographical works have had a strong presence since the second half of the ’90s. Notable works in this category include Martin Kellerman’s hugely successful Rocky series as well as the more low-key Hey Princess by Mats Jonsson, published in 2002. Then there’s also Sjunde våningen (‘The Sev-enth Floor’) by Åsa Grennvall, Aldrig godnatt (‘Never Goodnight’) by Coco Moodysson and Misslyckat självmord i Mölndals bro (‘Failed Suicide at Möln-dals Bro’) by Linda Spåman.

the currentvitality of the Swedish comics scene is due in part to the training courses available for comic artists – most notably at the Serieskolan (‘Comics School’) at Kvarnby Folkhögskola in Malmö. “Serieskolan in Malmö has

managed to expand the scene by nurturing people you might not have thought would become comic artists. There’s kind of an ‘everybody can draw’ atmosphere. At the same time, they’ve got a wide range, from political comics and documentary reportage to science fiction, adventure stories and manga,” Rolf Classon said. These days, political comics and cartoons have a secure place in our culture and are published in many newspapers, cultural magazines and on social media. Meanwhile, comics have gained a more prominent position in editors’ literary repertoire, as well as on the stage. Comic artists whose works have been successfully adapted for the stage include Liv Strömquist, Nina Hemmingsson, Nanna Johansson, Joakim Pirinen and Henrik Bromander. Alongside political and feminist comics, which are often text-driven, there is a more literary graphic sub- genre located in an image-driven, subversive tradition. Works by Joanna Hellgren, Emma Rendel, Emelie Östergren and Anneli Furmark fit into this category. Andreas Berg, an art historian, author and professor of illustration at the Oslo National Academy of the Arts, believes that the Swedish comics scene has become more international. It’s grown up and opened up to the world. “Swedish comics have got better at mixing autobiographical elements with fiction,” he said. “Graphic titles have become increasingly allegorical and have begun to appreciate the literary and visual qualities we often see in works from France. Previously, the focus had been more on the American tradition, on autobiography.” Berg is also happy about the status of political comics in Sweden. “I think the feminist discussion that’s being conducted in Swedish comics is proba-bly unique,” he said.

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“Galago was a protest against what we called ‘american cultural imperialism’, a spac e dominated by superhero comics an d donald duck.”

Socker-Conny (picture) was a comic character who arrived on the scene in the 1980s like a (literal!) smack in the face. He brought his creator, Joakim Pirinen, to the attention of a wide audience and even helped to generate interest in comics among the Swedish cultural establishment. Grants and other support for comics enabled the creation of dedicated access channels. Art galler-ies were keen to exhibit them. The magazine Galago was founded in 1980 and went on to become a publisher of comics and graphic novels as well as a periodical: a hub for the Swedish comics scene and a place where aspir-ing artists could publish their work. “Galago was a protest against what we called ‘American cultural imperial-ism’, a space dominated by superhero comics and Donald Duck,” recalled publisher Rolf Classon, one of the founders. “Galago published socially engaged black-and-white comics, often with elements of slapstick. At that time, the Swedish Arts Council was looking to support original Swedish comics. We received grants for the magazine and the books we published. That’s a cultural policy initiative that demonstrates in very concrete terms how it’s possible to make a difference. I don’t think the unique comics culture we have in Sweden today would have

been as diverse as it is without the political vision that existed back then,” he continued. A trait shared by several of

the artists associated with Galago in the ’80s was that they didn’t shy away from bleak subjects or taboos. There’s something almost Bergmanesque in the way Gunnar Lundkvist, Joakim Pirinen and Lars Sjunnesson give free rein to death, anxiety and loneliness –with the

occasional small, insignificant pleasure like black coffee, herring and alcohol thrown in as a distraction. Pain thresh-olds are there to be continually tested. Lars Sjunnesson’s character Åke Jävel (whose surname means ‘bastard’) blows everything up, while Gunnar Lund-kvist’s Klas Katt engages in incest with his grandmother and gives her AIDS.

whereas the ’80s were about break-ing down boundaries, today’s contem-porary Swedish comics and graphic novels have often focused on defining new boundaries. Setting limits for oneself and one’s own body. Creating a new canon that’s not founded on preconceived notions about things like gender. This is happening in politically and socially engaged graphic works as well as in more subtle, literary tales with genuine narrative structure, such as Det som händer i skogen (‘What Hap-pens in the Forest’) by Hilda-Maria Sandgren and Nattbarn (‘Night Child’) by Hanna Gustavsson.

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Linda SpåmanLinda Spåman (b. 1976) is an artist and comic artist. She is a master at combining social realism, surrealist absurdism and bleakness in her books. In her latest graphic novels, including BRF Ensamheten (‘The Lonely Tower Residents’ Association’, Kolik, 2012) about a cynical residents’ association on the outskirts of Gothenburg, as well as Äkta Spåman (‘Genuine Fortune Teller’, Kolik, 2014) she has stitched together a sizable patchwork quilt of human neuroses, dark recesses, dreams and shortcomings by zooming in on apparently ordinary people. In Äkta Spåman, Linda Spåman describes her melancholic feelings towards her job as a breakfast server at a seedy hotel by the motorway, then grabs hold of life and begins telling strangers’ fortunes. That marks the beginning of a frenetic adventure and a narrative about hilarious encounters with suicidal middle-class men and disgruntled allergy sufferers.

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Pictures from BRF EnsamhEtEn (the LoneLy tower residents’ AssociAtion) And Äkta spåman (Genuine fortune teLLer)

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Joakim Pirinen (b. 1961) is one of Sweden’s most unusual comic artists. In his career spanning more than 30 years, he has invigora-ted and baffled the Swedish comics scene with his absurdism and comics-based Dadaism. Pirinen made his debut in 1983 with Välkommen till sandlådan (‘Welcome to the Sandbox’). His big breakthrough came with Socker-Conny in 1985. Pirinen is a key figure in the new wave of Swedish alternative comics aimed at a wider audience, which emerged in the 1980s. Throughout his career he has smashed boundaries, in purely aesthetic terms as well as in terms of content and character design. Pirinen’s characters are seldom charming. They’re more often gruff, damaged or severely depressed. They exist in a surrealistic, absurdist comic world with hilarious overtones. In Pirinen’s latest book, Kommissarie Kvadrat (‘Inspector Square’, Kartago, 2014) Inspector Square is supposed to be investigating a murder, but people keep mistaking him for a flat-screen TV. Welcome to the universe of Joakim Pirinen, where things have a logic all their own.

Joakim Pirinen

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PAGes from kommissaRiE kvadRat (insPector squAre)

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Liv Strömquist (b. 1978) has been described as the most influential figure working in feminist comics. She first achieved success in 2006 with the satirical graphic work Einsteins fru (‘Einstein’s Wife’). She depicts social issues in her books, taking in a huge range of references from 21st-century pop culture to the Bible. Her fifth graphic title, Kunskapens frukt (‘Apple of Eve’, Galago, 2014) is a book about what is often called ‘the feminine sex’. It examines cultural constructs surrounding gender and bodies and asks: What is the feminine sex in our society – and how is it constructed? In Kunskapens frukt Liv Strömquist works with text to a greater extent than before, but never at the expense of her sharp analytical skills. This book very successfully links attitudes to women’s sexuality, gender and reproduction with dominant social norms. Armed with her findings, Liv Strömquist stakes out territory not only for young women, but also for herself.

Liv Strömquist

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imAGes from pRincE chaRlEs kÄnsla (Left) And kunskapEns FRukt (APPLe of eve)

11PAGe from sjundE våningEn (the seventh fLoor)

Åsa Grennvall (b. 1973) is sometimes called the ‘uncrowned queen of feel-bad’ of Swedish comics. She doesn’t shy away from depicting anxiety, depression, self-harming and dysfunctional relationships in her graphic novels, many of which contain autobiographical elements. Åsa Grennvall trained at Konstfack University College of Art and Design in Stockholm. Her first graphic title, Det känns som hundra år (‘It Feels Like a Hundred Years’), was published in 1999. Since then another eight books by her have come out, including Sjunde våningen (‘The Seventh Floor’, Optimal Press, 2002), which was awarded the Urhunden prize, Sweden’s most prestigious honour for comics and graphic titles. It has also been translated into French, Korean, Finnish and Italian. In 2014 Åsa Grennvall joined forces with Sofia Olsson, another comic artist, to found Syster förlag, a new independent publisher. Syster published Grennvall’s latest work, entitled Deras ryggar luktade så gott (‘Their Backs Smelled So Good’), a graphic novel about Jenny, a playwright who begins to contemplate her parents’ shortcomings after the birth of her own children and the emotional neglect she suffered as a child. It’s a book about escap-ing from established patterns, taking a good hard look at your own emotional baggage and ultimately breaking free.

Åsa Grennvall

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16 euros TTC FranceDÉP. LÉG. NOVEMBRE 2013ISBN 978-2-916589-79-4www.cambourakis.com

Joanna Hellgren (b. 1981) had works published and praised in France prior to making her Swedish debut with Frances, del 1 (‘Frances, Part 1’), the first volume of a graphic-novel trilogy about a plucky, compassionate girl by that name. Hellgren has garnered praise and awards in Sweden as well for her tender, timeless portrayals of growing up. Her pencil illustrations blend Swedish small-town melancholy with Parisian nightlife. Another of her graphic works is Min nattbror (‘My Night Brother’, Galago, 2014), an evocative story about Jakob, a ten-year-old boy who lives in the shadow of his dead brother. Min nattbror was first published in France in 2008, where it was chosen as a sélection officielle at the Angoulême comics festival. “Frances” and “Min nattbror” have also been translated into Spanish and Italian. More recently, Joanna Hellgren has branched out into the world of Swedish children’s literature, illustrating a number of picture books.

Joanna Hellgren

imAGes from min nattBRoR (my niGht Brother)

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15PAGe from hEy pRincEss

Mats Jonsson (b. 1973) is one of Sweden’s foremost autobio-graphical comic artists. His stated ambition is to record his entire life in comic format — and he’s well on the way. Jonsson made his debut in 1998 with a comic entitled Unga norrlänningar (‘Young Norrlanders’) but he reached a wider audience with the cult classic Hey Princess in 2002. That graphic novel, which is being made into a film directed by Maria Blom, has been called a portrait of the generation born in the 1970s. It recounts Mats’ life as a new Stockholm resident in the ’90s. While Hey Princess is about the inevitable process of growing up in an often bleak metropolis, Mats kamp (‘Mats’ Struggle’, Galago, 2011) is about becoming a parent and navigating through a bewildering mess of porridge, parenting groups and getting on the property ladder. Mats Jonsson has also written two autobiographical children’s novels published by Alfabeta.

Mats Jonsson

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Nina Hemmingsson (b. 1971) focuses on artistic illustrations and sharp satire in single-frame pieces or brief strips. She attended art school in Trondheim, Norway and has published six graphic titles since her debut in 2004. Her most recent volume, Snyggast på festen (‘Cutest at the Party’), came out in 2014 from Kartago. Nina Hemmingsson highlights societal norms and scrutinises notions of love, sexuality, gender roles and neuroses. Her female characters are forthright and coarse. They don’t beat about the bush and are not presented in a flattering light. Feisty, foul-mouthed old women share space with fierce girls reminiscent of Tove Jansson’s Little My character. Hemmingsson takes a behaviour generally regarded as ‘typically male’, twists it and lets her female characters act it out. The results make readers think as well as wince.

Nina Hemingsson

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16 PAGe from snyggast på FEstEn (cutest At the PArty)

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19PAGe from klas katt BliR dEpRimERad (KLAs KAtt Gets dePressed)

Gunnar Lundkvist’s (b. 1958) Klas Katt was one of the first Swedish comics for adults. It has enjoyed a faithful readership since 1979, when Klas Katt i Hell City (‘Klas Katt in Hell City’) was published. These comics are drawn in black ink, with an almost minimalist look. It almost looks as if the white areas are drawn on black rather than the other way round. At the centre of it all is Klas Katt, a cat who’s happiest when there’s a good supply of coffee. He’s not too bothered about having company, except his slightly more social friend Olle Ångest (whose surname means ‘angst’). The Klas Katt comics are about life — the way life usually is: frustrating, filled with suffering and worry, rarely in bright colours and facing a constant headwind. But still worth living. Throughout his career, Lundkvist has been praised as a percep-tive chronicler of Sweden. In his latest volume, Klas Katt blir deprimerad (‘Klas Katt Gets Depressed’, Kartago, 2014) Klas Katt and Olle Ångest wander round in a milieu dominated by emptiness. Olle wants to work but cannot find a job. Klas wants to stay indoors. Drinking coffee.

Gunnar Lundkvist

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Anneli Furmark (b. 1962) grew up in Luleå in northern Sweden. She is a visual artist and comic artist and published her first graphic volume, Labyrinterna och andra serier (‘The Labyrinths and Other Comics’) in 2002. She studied at the Umeå Academy of Fine Arts and has enjoyed a lengthy career as a respected artist. Her images are characterised by a closeness to nature and its variations. She displays a rare talent in her graphic works for depicting warmth and fragility in interpersonal relationships, and especially people’s insignificance in relation to the marvels of nature. She provides ample evidence of this in her latest book, Jordens medelpunkt (‘The Centre of the Earth’, Kartago, 2012) about a family’s holiday in Iceland. It’s a dazzlingly beautiful union between the striking landscape, an enthusiastic mum and a teenager’s unshakeable boredom.

Anneli Furmark

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20 PAGe from joRdEns mEdElpunkt (the centre of the eArth)

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Emelie Östergren’s (b. 1982) images are dense and evocative. Her world is a place that’s equally cosy and creepy, created in pastels and populated by things we think of as pretty: peonies, flower blossoms, girls in swishy dresses and idyllic stretches of sandy beach. Danger lurks on the margins: unseen, unnamed threats; secret doors and black holes. Östergren’s debut work, Evil Dress (Sanatorium förlag) — about a low-key yet terrifying game of hide-and-seek — was published in 2009. It was followed in 2011 by the equally dream-like The Duke and his Army — A Dream Revisited. In her latest book, Bortbytingen (‘The Changeling’, Kolik förlag, 2014) Emelie Östergren presents her take on a folk tale as told by Nobel Prize-winner Selma Lagerlöf. It’s a story about difference, intolerance and daring to stand up for what you believe in — a narrative that has gained resonance in a Europe regarded by many people as being influenced by increasingly conservative, nationalist tendencies.

Emelie Östergren

imAGes from BoRtBytingEn (the chAnGeLinG)

Grantsthe Swedish arts Council offers support for literary translations and projects as well as travel grants for publishers, organisations and translators of Swedish literature. for more information – see www.swedishliterature.se

GrantS for traVel and international eXChanGe for tranSlatorS of SwediSh literature

the swedish Arts council is responsible for allocating funds for work-related travel and skill improvement activities for translators of swedish literature and drama. Professional translators of swedish literature and drama may apply for these grants.

oPen for APPLicAtion:5 January – 3 february 20159 April – 7 may 20158 september – 6 october 2015

tranSlation GrantS for SwediSh literature

the support scheme applies both to fiction for children and adults, comics and non-fiction, and could be granted for ei-ther translation costs or both translation- and production costs for foreign editions of swedish books, such as fully illustrated children’s books, non-fiction or comics and graphic novels.

oPen for APPLicAtion:5 January – 3 february 20159 April – 7 may 20158 september – 6 october 2015

GÖteborG booK fair fellowShip proGram – for tranSlatorS, non-nordiC publiSherS and Sub-aGentS

the Göteborg Book fair and the Arts council together provide funding for translators, non-nordic publishers and subagents interested in attending the

Göteborg Book fair. the travel program takes place from 23-26 september 2015. non-nordic publishers and sub-agents who are interested in publishing/working with swedish literature of high quality can apply. translators of swedish literature can also apply for this grant. the grant will cover a part of the travel cost, accommodation for 3 nights, and entrance card to all seminars at the fair. the program is partly booked, with information meetings, lectures, and evening activities, and partly open to individual programs.

oPen for APPLicAtion:Applications must have reached the swedish Arts council no later than may 7 2015.

GrantS for literature proJeCTS and traVelS

the objective of this grant is to support literary events and international exchange which promote high quality swedish liter-ature and drama internationally. foreign publishers may apply for funding to help cover the cost of inviting swedish authors for book launches, literary festivals and similar events. organizations may apply for funding for projects or international exchanges. Projects can include, but are not limited to, translation seminars, collaborative literary projects and themed events. financial support may also be awarded to information campaigns and publications aimed at promoting swedish literature internationally.

oPen for APPLicAtion:17 december 2014 – 15 January 20157 April – 5 may 20154 August – 1 september 201520 october – 17 november 2015

linda spåman 4 joakim pirinen 6 liv strömquist 8 åsa grennvall 10

joanna hellgren 12 mats jansson 14 nina hemmingsson 16 gunnar lundkvist 18

anneli furmark 20 emelie östergren 22

© the swedish Arts counciL 2015 text: ALexAndrA sundquist trAnsLAtion: ruth urBomGrAPhic desiGn: studio mAts hedmAneditor: JAn Kärröco editor: AndreAs ÅBerGPrinted By wiKströms trycKeri AB

cover imAGes: front cover And insidefront cover from “snyGGAst PÅ festen”By ninA hemminGsson. BAcK cover imAGefrom “Prins chArLes KänsLA” ByLiv strömquist.

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GALAGo Box 17506 118 91 stocKhoLminfo@GALAGo.sewww.GALAGo.se

KArtAGo förLAGBox 3159103 63 stocKhoLmroLf.cLAsson@KArtAGo.sewww.KArtAGo.se

KoLiK förLAG, norstedts Box 2052 103 12 stocKhoLminfo@KoLiKforLAG.sewww.KoLiKforLAG.se

sAnAtorium förLAGsAmtinGsGAtAn 37e645 34 stränGnäsinfo@sAnAtorium.sewww.sAnAtorium.se

syster förLAGÅsA BerGshAmrA640 24 sKöLdinGeinfo@systerforLAG.sewww.systerforLAG.se

swedish Arts counciLP.o. Box 27215 se-102 53 stocKhoLm+46 (0)8 519 264 00

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