With the ”Aniara” sent Harry Martinson a probe – not primarily out in the universe, even if he had deep insights about the conditions in outer space – but into our culture in a broad sense. Then, it is instructive to study the culture’s reactions at the probe.
This applies not least to the reactions to the new ”Aniara”, the movie. While filmkritikerna to a large extent, responded positively Pella Kågermans and Hugo lilja’s film so have other writers been more restrained, and sometimes openly critical.
an important aspect. In the movie has the actual text, the poem, had to play a very modest role, while the actual deed, what happens aboard the vast spaceship, ”goldondern”, is told. It also does not take the space outside the ship, the longer the important place it has in martinson’s poem. No, it is the life on board is in focus.
That the film must be images, not text, is clear. But you can say that the film also ”taken down Aniara on the ground”, yes, literally check in for london and a shopping centre. In our world, our time.
Jenny Teleman in kulturradion (P1, 1 February) formerly ”bathed in the poems and the hisnat” becomes ”a little sad” that ”everyone feels horrible, has sexkult, and super” on board the spaceship. Kristofer Ahlström ask in DN:s pod Kulturkommissionen if the man in the middle ”of this ångesttårta we live with, where everything is run, need a movie that shows that hope is futile”.
1 February at this newspaper leader board, that language has been the most important thing for him, ”now runs on the Swedish manusproduktions most standardized assembly line and turned to Maria Wern in space”. Göran Sommardal (Aftonbladet 7 February) are on a similar reasoning: the Film’s ”modernised interpretation reaches no further than one of the spirit of the times blessed naturalness: the indignant reports of traffic jams, recognizable anxiety attacks, relation therapy”.
One has to ask, of course, what Martinson himself would have said. In diktsviten find out how he is modelled from the awe of the cosmos and a fascination of the possibilities, of the light-hearted or ironic comment to contemporary cultural expressions, on the direction of a more bitter view of the rulers and their (and our) society, with a sense of flashbacks to the life close to the earthly nature that was once possible. While the cosmic nature with its phenomenon becomes all the more alien. Yes, the spacetime is transformed gradually from the dynamic ”the spirit of the glass” to ”likstel space”.
But even if martinson’s work is characterized by criticism of civilization and grief over our losses, it also has its lighter moments: in the amazed glance of the strange himlafenomenen and vurmen for science (in spite of its deadly contribution with nuclear weapons, ”the brainiac slaktmask” ), and even more in the love of the women on board and, in particular, to Isagel, the pilot and mathematician, and in the vivid memories of nature in Karelia and the vision in the hymn about the sun and its beneficial effect on the earthly sommarängar. One might wonder whether these poems are there as a comfort for us or for femtiotalsläsaren, or that the author himself would not lose just in the chilling space.
moments toned down, even if they are looming in the mimarobens mimaförmedlade bath in a forest lake, and her amorous encounters with Isagel. We still face a less exalted world than Martinsons, mimaroben tear in the vårdsvängen, also to get more resources for terapistunderna with Mima, the humble astronomer has become a more realistic (and live) cynic, Isagel birth is not a beautiful mathematical theory in the book without a real child, a child to share her tragic fate.
But the question to ask oneself is whether or not the Martinson had actually liked precisely this: that ”Harry” would be so realistic that it took his warning call, in all seriousness, the story ended up more in the middle of our own world, not in the indefinite future with a sense of flashbacks. Perhaps it was necessary for the esteemed naturlyrikern to do also skräckvisionen beautiful. Maybe we need, today, a straighter tone of voice, to respond and act?
Read more: Kulturkommissionen in space
Read more: DN:s Helena Lindblad review
Read more: Overrated ”Aniara”
