”But you, that sounds really awful.”
The astute sucken usually followed by a few seconds of silence.
it will:
”You really ought to write about it there. It would make perfect for a novel!”
Therapeutic writing seems to have become a recurring mantra in the circle of acquaintances, and the panacea for the ills of all manner of misery. If it is due to it is broken together more often or that there are written more in my circles, we may let be unsaid. It is just the pen – or rather keyboard – which is seen as a given emergency exit for the crisis-ridden people who have writing as a profession is perhaps no högoddsare. But the writing has 2019 become a foregone survival kit, a swiss army knife with multiple functions: comfort, therapy, escapism and weapons.
to write novels and detective stories, or perhaps even better ”to write his life”, is now quickly fully booked. The dream of pull with the classic hämndhälsningen ”We’ll see you in my next novel” before the door alleged treason again, seems as useful today as it was in Strindberg’s time.
The deep human desire to write their own history is clearly a strong driving force, visible in the next two autobiographical novels, written by two journalists.
”I breathe therefore I am” by Caroline Cederquist and ”Without mercy”, by Fredrik Virtanen.
Caroline Cederquist, previously the DN journalist, tells the story of a dysfunctional childhood, marked by abuse and sexual assault. She describes a journey out of childhood powerlessness, darkness and medieskugga into an independent adulthood. She is attracted by the limelight and a life on the stage, the theatre, and then the media, and struggling to get control of and own their existence.
Fredrik Virtanen, former Aftonbladet, depicts a reverse trip. That is to say, the fall out from the limelight and life as a celebrated and powerful journalist and editorial writer. His life changed overnight after receiving allegations of sexual harassment directed against him during the metoo-the fall of 2017. He lost his job, but also friends, reputation, and control over their lives. Diametrically different stories and perspectives, but the momentum to regain power over their own history is common.
by Alex Schulman and Sigge Eklund’s pod scouts Eklund on autofiktion, that is to say, the dissolution of the boundaries between fiction and reality, as one of the 10-century’s most important trends. He describes a culture in which reality seeps into the art and pointing out the 00-century bloggboom as one of the inspirations. For those who have mastered the art of writing becomes romanformen a natural extension of the simpler facade and brand building over the past decade have run amok in social media. The smallest toddlers can direct up a very happy, interesting, exciting or tillrättalagt life on Instagram, but not everyone can write an autobiographical novel, and get an established publisher to give it out.
Eklund siar also about the next big trend, autoverklighet, that is to say, when art is mistaken for reality and exemplifies with the reactions to the film, Malin Persson Giolitos roman ”Greatest of all”. In everything from trade press, nöjesjournalistik and leaders dealt with the Netflix series as a documentary depiction of the överklasslivet in Djursholm, rather than a fictional story about a skolskjutning.
A benevolent interpretation of this tendency to not be able to distinguish between poetry and reality could be that our ability to live us in is intact. A less benevolent is that we live in a crazy time.
Read more chronicles of Catia Hultquist, among other things, on how much sex a person really have the right to.
