Destabilization and confusion

King crab is an invention. A Russian invention, set in the sea in the sixties. Active, starving, superior to almost any creature other than fish trawlers, grabbing the crabs, taking on any organism, and cleaning the wet bottom for life. They need more space, and walk west. Further towards Varanger, into the Altafjord, they crawl down the seabed and bustle there in the nineties.

You can call them cowards, "kings," who especially take those slow-moving bottom animals: brush marks, clams, spider-skins. Fortunately, the crabs have a weakness: The crab meat tastes good. Norwegian fishermen defy heavy roofs, wild weather, dangerous catches and late night hours, picking up hundreds of tonnes in the remaining season. These seals are expensive for Russian oligarchs. Kommersen wins over the predator. Some kind of balance has been restored. For the law of the strongest one's right debt touches on a certain point. Ideal time is no better than a Gerhardian ideal and conception. Balance and harmony are a strong natural instinct and a sometimes superior force. What does not play on teams will be eradicated at one time or another.

One essay other paragraphs are often of the prosaic type. After a more scenic and literary approach, tell the second section what the text should be about. This essay is about the latest books by Sofi Oksanen and Beate Grimsrud Standard og Infinity Children (both from 2015). The books are about destabilization and confusion. About information, and questions of information. The ambition is to practice information and theorize about this, but also to test confusion – and then to regain a sense of security and order. Language is method and goal. The sea and the crabs are the frame story. Inside is the meeting between Oksanen and Grimsrud. In the Norwegian hinterland, at the Literature Festival in Lillehammer, they discussed the topic "the exposed man". IN Infinity Children "André" is seen out of his own psyche. Oxen's "Norma" will be challenged from outside.

Ask everything, come a goddaughter to the world. And this is where it begins. – with André's favorite author August Strindberg. In Strindberg's "Eit dream game" a goddaughter also comes to the globe. Where she wanders around, tries herself as a daughter of man, as wife and mother, and whatever role she takes, as man and woman, she concludes with this: "It is a pity on man". Mankind is vulnerable. Occasionally looked outside themselves. And out there it can be dangerous to be. East and south of Stockholm there is war. Outside Ukraine, Chechnya, Estonia, there are stronger powers with tanks and soldiers. We are invaded by other countries, by radioactive radiation, by pressure of expectations. In both ways, both Oksanen and Grimsrud write about gender roles and how they live with them. About being grown women, women who have children. About being grown women without long, thick hair or reproductive capacity, and longing to be "motherly". About an industry that exploits this longing.

Long distance a strong force. If not taken seriously, it can be destructive; a disease that emanates from feelings and thoughts and busts itself in the body. Some people feel so strongly about things that their feelings become real. Grimsrud's "Siri" becomes pregnant with a thought, a feeling, a picture of the woman she is expected to be. She has "formed" for pregnancy. One picture wins more than a thousand words. Words are dangerous weapons. One says that they must be used cautiously. Worse than words, the absence of words can be. Worse than rhetoric and persuasion, confusion can be. Rhetoric is clear at least. Something up and clear. Withholding of information indicates confusion.

Worse than words, the absence of words can be. Worse than rhetoric and persuasion, confusion can be.

This is some of the content in Standard og Infinity Children. “In the depths of the big, there is little. And vice versa, "writes Grimsrud, who portrays" Siri "'s struggle for and courage to grow. How do you grow up? Siri has a clear picture of this. The images are so strong that they become a reality for her: a child in her own body.

The big thing in the small. It's great, to dare to be small. The vulnerable is huge. The great thing is vulnerable: the Soviet can no longer cope with being the Soviet. The Soviet is losing ground a little. And it may have started with Estonia:

In Norma the female body is a motive, an industry, a turning point for reflection. It is about an industry that takes profits from women's longing for the female doctor. Big, thick hair. Large pregnant belly. Surrogacy and hairextensions. This is what "Lambert" in Standard has to sals. He buys it from women whose hair and stomach grows away willingly. One knows that the theme from Oksanen's earlier books. The Estonian Quartet is also very much about being a woman. With a technical, distancing, sharp and clinically accurate language, Oksanen conveys a close, yet distant history: Estonia's many liberation struggles. Through stories of a single person, they tell national stories.

It begins with the centenary and Estonia's first Soviet liberation struggle in 1918, which When the pigeons disappeared (2013) is about. The Oxan depicts the resistance people; forest bromo. They were human beings. As an Estonian form of the Kurdish Peshmerga – guerrilla soldiers battling for their own self-standing – they operated in the forests. Fight a silent battle against the Soviet. As one talks about, and not directly about the Peshmerga's operations, one does not talk directly about forest fires either. Don't fight this war; they "went to the forest". They did not die; they "did not come eighth from the forest". Aphorism, image, rewriting. Estonian is a language rich in idiom, ie expressions that have other meanings than the pure literalist. There is great power in what is confused. For anything that lacks stability, try to find stability. Extremely unstable substances, such as radioactive substances, cause great harm to the road to calm: April 26, 1986. We are in Prypriat, at a nuclear power plant. In reactor 4, the pressure drops dramatically and quickly. For uncertain reasons, the man is not caught by the guard. Meltdown, explosion.

Some claim that the Chernobyl emission amounted to 900 gongs of Hiroshima bomb. Fortunately, or unluckily, radioactivity is spread with all winds. The windows move northwest, over Russia, Sweden, Trøndelag – and on, on. No one understands the full extent and seriousness. Soviet governing bodies provide little information. Still, there is room for fear. Fear has good reason. And the lack of talk makes everything worse. Where is the strong leader now, when he needs it? Hold a press conference! Talk to us! Feel free to say the same thing over and over! Feel free to say, again, that they did not know for sure. They do not know the extent and do not keep asking. But one thing's for sure, and it's that they'll see us here again soon. Every hour, we promise, we will sit here again. Then they find us again. Again they hear our voices: We know no other than such and such. But most important now is to evacuate the people from Chernobyl. The consequence of the retention of information makes the damage greater. Damage that could have been avoided.

Nuclear power is a fabulous force. Radioactivity is one of the substances king crabs: larger than life and very far from the balance that the human body constantly seeks. Radioactive material shoots particles like alpha and gamma radiation. Destability is dangerous. And Putin knows it well. The problem with Russia's governance is undercommunicated and under-powered, says Oksanen. Very little has our focus on the economic side: the corruption, the buying into power. Ein has bought everything that can be bought for money. Who buys one then? What you can't buy for money. This is some of the reason Oksanen writes about surrogacy Norma. 

Who is the literary potential of the topic of surrogacy? Oksanen is interested in talking about the surrogacy in the room: "One speaks more to men than to women when one seals into surrogacy," Oksanen argues: "To appeal to men, one uses words like factory, production, tools." Technical, distancing words. Oxan also refers to another expansion of the language: New phrases come about women. Women become more, become different: Ein has new words for "mother": Mothers can be housewives, family mothers or family housewives. The new "sexy" is the care family housemaid. Where did this come from? It comes from America, from the fifties; it comes from the beginnings and the establishment of housewife. It comes eighteenth, and has been here for ten years. It came in parallel with product like cupcakes and new kitchen appliances. With new old cloth: housework skirt, vacuum cleaner pumps, dress apron. Capitalism and consumer society are changing the language. At best, it expands the language and gives new words and expressions. At worst, it gives words and expressions that change the way we think. Consumption increases. Consumption to a small fraction of man looked like a whole globe.

I Infinity Children find an artist who buys a whole village in Denmark. He calls it loud, almost assistance, but has a premise at the bottom: Everyone in the village must take the artist's last name. The village has already been allowed to buy. But none of them like the new owner any further. So it still feels something that can never be bought for money. Money can't buy you love.

Beate Grimsrud take a walk in the park. A woman buzzing around on the grass. She pulls on a dog leash. The necklace is empty. "Bosse? Bosse? " cries woman. Days later, Grimsrud sees the same woman walking around. Round and round. We all go around on an empty necklace, Grimsrud thinks. She has been going around this picture for twenty years. Finally, i Infinity Children, she draws the image down. Word for word. Grimsrud writes about other losses: losing illusions and dreams. The loss of threat and childhood. About trying to become the adult, trying to fulfill expectations about what it will mean to be the adult: to have children. To have it small in size. To be great because one has little in it. To be yourself, if it is to be small.

The character "André" disappears. All the time away. He wants to go to Paris. Or Amsterdam or Barcelona. André can go almost anywhere, if only his friend Tomas joins. But Tomas announces a rebuke, time after time. In the end, André takes his friend on an outing. To the August Strindberg Museum, to study Strindberg's rubbish. The garbage will disappoint the mate. Strindberg is too much of a pedant; The garbage itself is decent. Tomas wants to bring home that. It's a pity on André. In one of the world's richest countries, in a safe area in Stockholm, where André is unhappy, challenging his own longing for contact and proximity. We are many who depend on those around us. Like the governing powers. How do you live in a regime where, at best, you get little information, and at worst get disinformed, confused, tried to destabilize?

Oxen exhausted the literary potential of positions created by governing powers. The fantasies that are triggered by the lack of information. The author's compassion, which continues the narrative where history, the science, stops. You still find space. Confusion spreads around him. The post-Soviet problem was between another lack of consensus on history. That there was no truth to be found alone. That history became new again and again. "What if your governments said that Norway was in Australia?" asks Oxan, rhetorically.

Relationship Russia- The West is frozen again. Russian fighter jets taunt the Norwegian. The documentary Norway for sale goes a long way in suggesting that the mass flow of refugees over Storskog was sponsored by Russian government. Russia boycott Norwegian king crab. The fishermen had Russia as their largest market. Should the trawlers stop catching crab, the wet seabed can become a reindeer for life. As if we do not have enough to deal with challenges from within. We must harden. Then we can endure more of the war. We must not harden. Then we can go to war.

Who is going to control the company if everyone lies down and "knows it"? Who is going to write the poetry and feel about being human, did we all harden ourselves? Some shows may come to mind. The conversation between Oksanen and Grimsrud is to be judged. But they don't get any further than ten o'clock. For that, there must be box office and signing.