Forlag: Flamme Forlag (Norge)
This article is machine translated by Google from Norwegian
"Hi, United Kingdom! Or – can I call you England? It is okay? I mean all of you, ie Great Britain, United Kingdom. But you're like England to me. And you think so too? You are the most important in the constellation. Scotland, Wales and Northern Ireland are different. ”
Hi, reader! There you read the beginning of a kind of letter about the UK's cancellation of the EU, and about the split that happens within the country's borders following the popular vote on Brexit. But the letter, or the essay, or the boxing angel is about more than the split of the Commonwealth and of Europe: This personal text is also about being an immigrant to the UK – about what happens to her, and other immigrants, when the new homeland comes out of the EU. Probably many must leave. Families can become divisive. From becoming an immigrant-friendly country, with a high degree of integration and ability to integrate, the United Kingdom soon demanded that immigrants must submit comprehensive applications in order to be curbed. The multiple choice test "Life in the UK" is part of the application and has a major role in Heidi Sævareid's book single. So big that I would call it a supporting structure. One letter – and one kind of multi-choice test in one, that is. What will it be?
It will not be easy. But the world is not simple, write Sævareid in another book that recently came: Breaklines Life in the UK becomes an intricate and elegant settlement letter. One can call it an original take on the old epistolaric form.
This personal text is also about being an immigrant to the UK.
The epistolary is often a short novel writing in letter form. The first ones were Spanish, French and Portuguese and were love letters. The epistolary may have a sender, or it may be a dialogue. IN Life in the UK there are actually two senders. Sævareids I answer the test that the UK gives her. Danna who is, answers her own with the addressee's own language. It is an intricate letter, and elegant as Queen Viktoria. At the same time, the letter is a precursor to the "Life in the UK" test. One test that can help the narrator to continue to be in the UK, despite the fact that the crush has passed.
Culture and formation. Sævareids tells busette in England out of love. The self portrays a love for the English voice, which we heard on TV and radio from when we were little; to the English language, which is cooler and bigger than our own; and to David Attenborough, the scones and of course the music – especially David Bowie, who himself moved from the UK. The storyteller knows England is better than England knows Norway. But that England is so recorded by themselves, is not a problem. On the contrary. The problem arises when the narrator feels rejected. The narrator responds sophisticatedly, seeing the complexity of his object of desire. For Britain, paradoxically, as this letter is. The letter is a private little Brexit. Eit Prixit. At the same time, there is an attempt to remain in the UK.
The language is smart, sharp, accurate, and sometimes very cold.
The letter is also composite: It both theorizes and practices the cultural and forms of Britain. Sævareid depicts centuries of culture and formation. And practicing education: How to conduct public education work in multi-choice test form. But most important is the way he "practices" England in the language. The language is smart, sharp, correct and sometimes is cold. But I also know that the girl who grew up had to defend her talk pretty. She grew up in Agder, but kept on dialect to her parents from Oslo. In Oslo, too, she had to defend the socio-cleric saying: At Blå, at Blitz and other cities where she went, she had to explain that she was not from the west edge of the city.
Sævareid practices the British "passive-aggressive" attitude: "Excuse me for asking, England, but retroactive laws and regulations are not something democracy should put in place? Not to complain, but I feel pretty powerless. " This entire letter is a complaint. It is an elegant, killing sharp and sometimes satirical account of "ex", the United Kingdom. Settlement often takes place in the language. Sævareid uses the disarming British trick of flattering and criticizing in the same sentence.
The letter is a private, little Brexit. Eit Prixit.
A musical work. The author meets the British attitude "Go back to your own shithole" with humor: "I'm not going to say anything about my crap, England. This is about you – the navel of the world. ” The text has a flurry of elegant oneliners, such as "you like to laugh, England, but you don't like to be led off".
Nevertheless, satirical play and linguistic staging is not the point of this work. It is a musical work. Sævareid strikes the right balance between light and dark. Einskilde, pointing out super sentences, is like a chorus between driving energetic – sometimes in love, sometimes furious – prose. And as a pulse through everything, questions and answers pass the test.
Sævareid depicts an England that, after the EU announcement, has lost the sense of community. At the same time, the writing is a kind of cancellation from the New England. She shows disappointment and despair for the change happening in the UK and the prospect of maybe having to move from there and mixed all the bittersweet that the UK is. Here's how the National Award Winner's settlement script thanks the English language to Dr. Martens Boots and wins victoriously:
“To succeed in pulling down the toilet requires luck or handshake or both. But sometimes it just doesn't work, and then the BBC can report this: A woman who threw her poo out of her date's toilet window because it "wouldn't flush" had to be rescued by the re brigade after she got stuck trying to retrieve it. The poo did not land in the garden, but became wedged between two non-opening windows. Life in the UK. »