Culture Linguistically distinct, yet it will be both tender and dreamy. Hanna Jedvik have read Sara Mannheimer distinguish us.
Sara Mannheimer’s third novel, it is mainly the relationship with the mother at the center. Hanna Jedvik have read a book that lets your thoughts take time.
I read Sara Mannheimer’s debut rules and her new novel distinguish ourselves in one fell swoop. The stories are the same in me.
I get back up, sort out and straighten up. How much I want to distinguish the novels settles rules and distinguish us close together. Difficult parting. Although they are not exaggerated as much.
While the rules are a monomant grinding in the interior, the narrator ajar not many doors to the world around them, is Discern us a childhood history which adds puzzle with the narrator’s life . Fragments of memories becomes a life story when the memories flit past, with the mother and grandmother in a string straight part down to the daughter and granddaughter. A piece of women’s history in the small where the family ties form scenes, patterns and heritage.
Göteborgsbördiga Sara Mannheimer’s literary debut was difficult to escape when the affected Culture Sweden in 2008. The following year she was awarded Boras Debut because “a cutting forever and nervy vulnerable novel that moves with ease and humor of the glass-sharp edge between freedom and anxiety”. She was then established glass artist, lives and works in Stockholm since 1997.
Three years after the debut came plot, as to the form and its lyrical expression reminiscent of rules but whose action primarily moves between the spines of the books in the home.
Sara Mannheimer’s third novel is thus primarily the relationship with the mother at the center. The protagonist, a middle-aged woman, steps aboard a train that will take her from Stockholm and Gothenburg, then on to the house that she has borrowed for writing.
But that’s not to pass Gothenburg without contact to the Mother. And towards meeting played the childhood scenes up. The File is opened and the deep relationship to the mother is exposed in parts. For each stop the train makes will be a new part of life visible. Sodertalje, Flen, Hallsberg, Laxå and further on across Sweden. Anyone who has traveled the route know how it meanders its way over the land slowly.
flashbacks interspersed with details from the reality around it. Here and there. Then and now. In the fragmentary selection.
“The story is not good, can only come in shock, want and do not want to front or rear, want to stand still with arms hanging, still with your palms facing the world, the unknown, forever incomprehensible.”
Shocks form eventually a whole, which occasionally stop and dig in the wound that hurts. Early childhood, school years, lives with her mother in the community on the highway road and the father’s apartment on Linnégatan. The father who one day moving to Stockholm and disappear.
And so the writing. The writing. A meta level where the author is always present when Mannheimer twist and turn the story as she writes up. How the mother to respond? In addition, the flashbacks of parental treatment of the wounded debut.
Sara Mannheimer’s lyrical prose text is distinct and clear, but this time allow herself to be dreamy and vague. Sounds ideas take time. Tenderly she portrays our efforts to separate and distinguish ourselves in our relationship with our mothers. How they still live within us.
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