Sarah Death

Often referred to as Sweden's Charlotte Bronte, Fredrika Bremer (1801-1865) was widely translated during her lifetime and became internationally acclaimed as the author of an impressive series of novels and travel books. The Colonel's Family first appeared in two parts in 1830-31 as part of a series which she called Sketches from Daily Life - a title which at an early stage declared her lifelong preoccupation with the details of her domestic day. What was less immediately apparent to her contemporaries was her courage in abandoning the prevailing conventions of insipid romantic fiction in order to explore more profound social and moral problems. Her novel is now recognised as a sensitive exploration of the problems of a frustrated, silenced woman, a creature of strong repressed passions, in an era of highly constrictive marital conventions. The striking narrative style is a combination of the picaresque, the sentimental, the realistic, the comic and even the farcical. This translation of a classic of Swedish literature preserves the freshness and idiosyncratic flavour of the original. Sarah Death has over thirty years' experience as a translator from Swedish and has won the George Bernard Shaw Prize three times. In 2014 she was awarded the Royal Order of the Polar Star for services to Swedish literature. She has translated books in a wide variety of genres including children's stories, crime fiction, literary criticism, novels by Nobel laureate Selma Lagerloef and the work of many contemporary writers. She lives and works in Kent.

In this second part of her notionally autobiographical trilogy, Selma Lagerloef broadens the perspective from the farm where she grew up to include the people and places around Lake Fryken in her beloved Varmland county. The personal creation myth which she began in Marbacka continues here with a focus on the self-discipline and imagination needed to fulfil a childhood ambition to become an author. It is hard work that sometimes means taking a stand against convention but also a deeply enriching process in a home steeped in storytelling and books. The mature author reveals the roots of the young bibliophile's growing skill in deploying fiction to manipulate and embellish reality, producing a wryly charming, tongue-in-cheek account that we should beware of taking at face value.

From one of Sweden's most astute cultural critics, a razor-sharp comedy of the progress and ruin of the industrial welfare state, told through the story of a single family. Ragnar Johansson is born in 1932, a transformative moment in Swedish history. He has Swedish social democracy flowing through his veins--convinced it lifted humankind out of the dark ages and into modernity, he cherishes it. At times Ragnar despises his mother, Svea, whose perpetual baking, scrubbing, and canning represent the poverty of the peasantry. Ragnar, for his part, hails the efficiency of washing machines and prefab food. Once he has children himself, he raises them in accordance with his values, standing in the ski track supporting his daughter Elsa as she works hard to become one of the best skiers in the country. While Svea is a relic of the past, Elsa represents hope for the future. In time, however, Ragnar realizes that the world is changing. Is his golden age coming to an end? In Son of Svea, Lena Andersson offers a characteristically funny, wise, and moving family chronicle about the social transformations that unite and divide us, and about finding the courage to be true to oneself.

Victoria Benedictsson published Money, her first novel, in 1885. Set in rural southern Sweden where the author lived, it follows the fortunes of Selma Berg, a girl whose fate has much in common with that of Madame Bovary and Ibsen's Nora. The gifted young Selma is forced to give up her dreams of going to art school when her uncle persuades her to marry, at the age of sixteen, a rich older squire. Profoundly shocked by her wedding night and by the mercenary nature of the marriage transaction, she finds herself trapped in a life of idle luxury. She finds solace in her friendship with her cousin and old sparring partner Richard; but as their mutual regard threatens to blossom into passion, she draws back from committing adultery and from the force of her own sexuality. The naturalism and implicit feminism of Money place it firmly within the radical literary movement of the 1880s known as Scandinavia's Modern Breakthrough. Benedictsson became briefly a member of that movement, but her difficult personal life and her struggles to achieve success as a writer led to her suicide only three years later.