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Art and squash cabbage

Is the ecocritical author a prolific breed?




(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)

At the festival weed his people on the floor. Not because everyone wants to, but because there are no available chairs. The theme of literature and climate match engages young adults in Trondheim. Café Digs is full. Hands shoot in the weather that sprouts in the spring. Author of It's not ours. It is global warming, Rune F. Heimås, has just proclaimed his responsibility as author: To make good art. "It's cowardly," says one of those who raises their hands, and says, "Art for art's sake? It is to assume responsibility, ”says a woman, who is part of the Literature collective. This student-run organization is behind the literature and climate festival Ugress. This year's festival also poses a question posed by the authors 'climate action, by the journal Vagant and by the Norwegian Writers' Association, in a way of membership: Do authors need to get involved in the environmental fight? In what case should they do it? After so many decades of debate about the autonomy of art, one may well add: Is it still something new to join the debate on eco-criticism? The Trondarians are apparently hoping for it, with the attendance at Digs. Now, window sills are also used for seating. And for bookshelves, for books one can exchange. Swapping and recycling culture is not just a topic, but also a practice this week, while the election campaign has spurred and the Green Party will make an unusually good choice.

Weed is a slow festival, a festival for concentration. With a program post every day, the focus becomes big on remaining mail and still participating. Veka starts with this panel debate: in the midst of the election campaign, and with a hired speaker who talks as an artist, and one who is on the list for the Green Party Environment and who talks as a politician but also as film director for the Kosmorama festival. The attendance is great. The temperature rose. But these are just human kilns, not global warming. Heimås read from It's not ours. It is global warming, before Ola Lund Renolen of the Green Party Environment holds an introduction about the stories their function as a dissemination body. Then the discussion begins, which can be summed up as follows: Little people hit their hearts as good stories. And now it's about meeting people's hearts and mobilizing for the care of the globe, and not least for people. As of this writing, the globe has 7,3 billion inhabitants. The intensity of the voice of the wool girl from the Literature collective is increasing. It is Rune F. Heimås ho addresses the comment to. He has kept his half hour introduction. While Renolen took advantage of talking as a politician, Heimås spoke exclusively as an artist. The conclusion: He has no responsibility for anyone other than trying to create good art. He does not himself have the sense of the more didactic and instrumental art: the explicit political literature. "But," he answers the critic from the "hall," ie the floor: "One does not exclude the other. There will be room for both political art and another art. ”

For sublime there is room in Norway, and there is a surplus. But new climate reports show that even we here on the mountain feel the climate changes on the body. We have more precipitation, and can expect more precipitation. We can expect our ecosystems to be shaken out of balance. This is also why authors such as Espen Stueland, Agnar Lirhus and Brit Bildøen write what can be called ecocriticism or climate literature. But what is it for something? Is it similar to the political literature of the 70s? Let me quote some of the tenants from a similar event. The Norwegian Writers' Association's annual membership meeting had a couple of years ago the theme: "Should writers get involved in environmental issues, and how should they possibly do so?" Back to then: Jostein Gaarder is one of the tenants, and asks further questions: "A destruction of the natural environment will also be the destruction of all culture," he says as an argument for why authors should get involved. Brit Bildøen also sits on the panel: «It is difficult to say whether authors are responsible for getting involved. But everyone has a duty as citizens, "she says. Write? Yes, says Bildøen and Gaarder. But how? Critics of eco-literature draw steadily forward the seventies. "I think writers are afraid to get their hands dirty writing political literature," says Bildøen, adding: "We have new times. A new time requires a new gait. "

'I'll be the last to moralize. I travel a lot, and I travel by plane, ”says Heimås at Digs Café. The journey to Trondheim starts with the train, the small one: the subway to Oslo S. My trip to the subway passes the Holmenkollen Park Hotel. It is their conservative country. It is a land where little is changed: where grass grows and wood stands. "Weeds" are also allowed to stand. Neighbors are grass conservative, flower conservative, tree conservative. The furrows are crooked, bearded, unsymmetrical, delectable. Here is primeval forest, which one calls the forest that is not changed by people. For "Here nothing should be changed," as it says on Kaffistova in Oslo. Here's the squash cabbage enough for the spring salad through. Aegopodium podagraria (gossip cabbage) came to Oslo with cistisian armons in middle age. They came by boat up the Oslofjord, and were pricked in the enclosed beds on Bygdøen or Hengsøen: Hagane has gossip cabbage in fine, straight rows. Plant with five centimeters between remaining sprouts, and occasionally: opposite growths – plantar that draws nutrients from the soil that the gossip cabbage releases to the soil.

Do writers need to get involved in the environmental fight? In what case should they do it?

"Our natural spinach" was cultivated and became natural. It was tame and regulated, and got out of control. Like civilization itself, a true misanthropane should. Like language, a true formalist poet should. We have sown the language. It has its roots in us. We have to fix words. Authors make a sublime word. See only Inger Elisabeth Hansen's new collection of poems, which is also full of new words. Aina Villanger dictates words like silk bull, and nerve sperm are cloned. Authors have created the most expressions and sayings we have in the language today. That was a unique bloom at one time. Time passed, the flower bloomed and seeds flew. They found new soil in new mouths, and became common words.

The authors' climate action Section 112 is found because they, many tens of adults, Norwegian authors, are convinced that a climate problem can be reversed. They do so directly, by writing reader letters and letters to governing authorities, and conducting high-reading actions. Dei contributed indirectly to giving voice to this voice motto: to nature. They depict the globe in an engaging way. That one will be happy will take care of. But we must also take care not to abuse language power. I can make people uneasy without meaning, with a disturbing language. I can dramatize and exaggerate something that should not be dramatic, or romanticize crises, apocalypses, melancholy, sadness. But one can also use strong tools to engage. "Tales are one way to reach people," says Ola Lund Renolen, and emerges Beatles by Lars Saabye Christensen, and read a little for us. One piece dispute story; a time document from Oslo then. The consumer society is growing. And the consumer society, says Renolen, is the root of the environmental probe. "Everything connected with everything," he says. In that way, the Kosmorama boss subscribes to Naomi Klein's system-critical thesis that capitalism has this debt. But can one also say that the consumer society is good for climate? Increasing consumption has put prices down on solar and wind power? It was one time that I listened to NRK radio for an interview object claiming that this technology is now less expensive than coal. The hope is bright green. But it's hard to believe. Coal reserves are large, the price of coal is low. The new hope lies in the change in attitude. That it is also possible in mobiles other than in Trondheim to mobilize a full-fledged cafe for panel discussion, for ecological thinking.


Karlsvik is an author and regular contributor to Ny Tid. mette.karlsvik@gmail.com.

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