Lina Rydén Reynols poesidebut ”Read my lips” has aroused the attention already before anyone even opened the book.
the Book’s back cover learn to get the most readers to raise eyebrows. Here, there is no selling in the formulation of the book’s contents. Instead, Ryden Reynols printed a sort of list of the book’s production conditions. A long list with details about everything from the name of the publisher, the font, the paper quality and ISBN number to what the typesetter and korrekturläsaren received in fees, the terms for the royalties and the publisher’s expected sales in the year 2019.
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a kind of after effect. At the same time, it was a long time since I read a the end that manages to say so much about what the poet actually want to do within the pages of this book.
Already before the book even left the printing was preceded by a quite remarkable turn of events. In the spring brought the publisher Gunnar Nirstedt quite a stir when he resigned in protest from Albert Bonniers förlag. In a DN interview he explained his defection to the publisher now ”decided to go for a much more commercial focus which is adapted to ljudboksformatet”.
Now the same Nirstedt joined the Modernista group and started its own publishing house, Nirstedt/literature, Lina Rydén Reynols debut is förstlingsverket. Nirstedt attach to and with a sort of manifesto to this first book, and explains that Rydén Reynols poetry ”coincides … in a great way with my own litteratursyn”. The publisher adds, therefore, a not inconsiderable amount of symbolism in the release of Ryden Reynols handled.
Keystrokes, and speaking tongues is strongly present in Ryden Reynols språklandskap.
Ryden Reynols hardly an unknown player in the publishing industry. She has worked for many years as a publishing editor on both the Crane and Albert Bonniers and even pushed the Stockholm litteraturmässa. Piquant enough, took office, she may 2018 the service as a publisher with special responsibility for poetry by Albert Bonniers förlag – precisely the chair that Nirstedt left in protest.
The beauty of literature is that in the end only one thing counts: what actually is inside the covers. In the Rydén Reynols cases, this is a very ambitious text, which requires much of its readers.
”Read my lips” contains many abstract thoughts, literary grip and styles. It is bold in its typographical form. The book is particularly demanding in its way to call itself. Just like in the blurb, this is a poetry that wants to be transparent about their production conditions – yes, even use the pages to examine them. It is as much about the philosophical conditions and the social conditions of literature, and information technology conditions.
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illustrated the text with images in visual communcation models, reminiscent of the early ^ hillel ticktin, when the idea of a dawning ”information age” at the 1900-century the strong influence of the contemporary experimental literature.
the Language in which information is thus a fundamental idea here. But as the title suggests, it is not at all exempt from physicality. Keystrokes and eloquent tongues are strongly present in Ryden Reynols språklandskap. Maybe you can see the whole book as an attempt to the portrait of the human linguistic and social existence in the algoritmernas era.
It must be said that the result is a pretty uneven poetic text. Ryden Reynols is the best in the a little more rare prosaavsnitt as intellectually try to approach the issue of communication limits, rather than in the long section of the fragmented lyrical language that tries to portray it.
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I Rydén Reynols leaves the reader a little lonely. In the fascinating but elusive poetic dynamics between the spread and the collection, abstraction and concretion, the matter of chance and patterns leaning Rydén Reynols often a little too much towards the former.
That the poet possesses a sharp eye and attentive ear for the language and living conditions is very clear, which makes it easy to hope for a more concentrated and coherent poetry in the next work.