Søgeresultater: 106

Móðurmjólk Nora Ikstena Henda søgan um kvinnur mótvegis statinum dregur fram beisku søgu Lettlands frá 1945 til Berlinmúrurin fall ella neyvari: frá 1969 - 89. Ein øld er umliðin, síðan Lettland alment varð tjóð, og helmingin av tí tíðini hevur landið verið undir sovjetskum yvirræði. Nora Ikstena lýsir trælatilveruna í sovjettíðini, har ein mamma spakuliga fer í upploysn, samstundis sum frælsið í høvuðsstaðnum Riga nærkast. Hetta er ein beisk søga, sum nú er týdd til 26 mál. Tað 26. er føroyskt. Ikstena lýsir eitt tíðarskeið, sum ikki ber til at fata nú á døgum, men sum lættliga kann taka seg upp aftur. Tveir persónar siga søguna - ein mamma, sum einki navn hevur, og dóttir hennara. Mamman noktar at geva nýføddu dóttrini bróst, og sigur seinni “Mjólkin var beisk. Í henni lá alt høpisloysið og øll týningin. Eg vardi barnið ímóti tí.” At dóttirin ikki fekk mjólk frá mammuni gevur henni seinni mótboð ímóti mjólk, sum øll skúlabørnini vórðu tvingað at drekka. Alt hetta við mjólkini eru eyðkenni um sálarligan løst, sum stendst av, at tann politiska kúganin er so fullkomin, at hon er farin inn í kroppin, inn í sálina. Og so fylgja vit teimum báðum. ... This story of women versus the State draws attention to Latvia’s bitter history from 1945 until the fall of the Berlin Wall, or more precisely: from 1969 – 1989. A century has passed since Latvia officially became a sovereign state, and during half of that time, the country was under Soviet rule. Nora Ikstena describes the Soviet era’s state of slavery, during which a mother slowly falls apart, at the same time as liberation nears the capital, Riga. It is a bitter story, which now has been translated into 26 languages. The 26th being Faroese. Ikstena describes an epoch unfathomable to our time, but which easily could happen again. Two protagonists narrate the story – a nameless mother and her daughter. The mother refuses to breastfeed her new-born daughter, and later explains, “The milk was bitter. It carried all the absurdity and all the destruction. I protected my child against that.” Because the daughter never was breastfed, she develops an aversion to milk, which all the school children were forced to drink. The ordeal with the milk is a characteristic trait of psychological injury, derived from a political oppression so absolute, that it has entered the body, the soul. And thus, we follow the two.

ATVENT er søgan um seyðamannin, Benadikt, sum hvørja advent leggur til brots inn millum fjøllini at leita eftir seyði, sum hevur ligið eftir í rakstrinum. Á hesum vandaferðum hevur hann tveir fylgisneytar, hundin Leo og geldseyðin Eitil, ið er treystur slóðari. Á sjeyogtjúgundu ferðini kemur kavarok og stormur av tí frekasta á hann, so tað stendur um lív. Meistaraliga greiðir høvundurin frá, hvat ið rørist í huga Benadikts á ferðini. Og so væl lýsir hann frá, tá ið Benadikt uttan at falla í fátt berjist fyri lívinum í stormi og dungaroki, at tú kanst ikki leggja bókina frá tær, fyrr enn tú veitst, um Benadikt má lúta ella ikki. ... ATVENT (Advent) is the story of the shepherd, Benadikt, who takes off into the mountains every Advent to look for sheep left behind from the drive. For the perilous journey, he brings two companions; Leo, the dog, and Eitil, the wether, who is a strong leader. On their twenty-seventh trip, they get caught in a furious, life-threatening snowstorm. The author masterly describes the thoughts going through Benadikt’s head on the way. So vivid is his narration of Benatikt’s tireless struggle for his life in the heavy snowstorm, that you are unable to put down the book before you know whether Benadikt makes it or not.

Hetta er ein nøtrandi søga um eitt einsamalt stakkaladýr, eina gentu, sum býr saman við sínari fámæltu og oyðiløgdu mammu, sum hevur nóg mikið í sínum kærleiksleysa gerandissliti, og einum fosturpápa, sum misnýtir hana kynsliga. Søgan fer fram í Norðurnoregi í fimmtiárunum. Hóast kjarnin í bókini er søgan um Toru, verður hon sett í størri samanhang. Bókin verður eisini ein lýsing av bygdarsamfelagnum, sum Tora veksur upp í. Kríggið er just avhæsað, og Tora er týskarabarn. Bæði hon og mamman eru krígsoffur. Oman á ta vanlagnuna neyðtekur fosturpápin hana. Hvussu kann Tora mennast undir hesum korum? Hvørjar útvegir finnur hon, so hon kann draga undan í hesum lívskarga og ræðuliga umhvørvi? Tá ið vit hitta Toru, er hon í teimum viðkvæmu kynsbúningarárunum, í skiftinum frá barni til vaksna kvinnu. ... This is a tintillating story about a lonely derilict and a girl who lives with her quiet and ruined mother who is involved in her own loveless daily life, and her foster father who abuses her sexually. The story is set in Northern Norway in the 1950s. While it centres around Tora the storyline also incorporates a larger context. The book is a depiction of the small town society in which Tora grows up. The war has recently ended and Tora is a war child - her biological father is German. She and her mother are both victims of the war. In addition to this terrible predicament her foster father rapes her. How can Tora evolve under such circumstances? Which path does she find to escape this lifeless and terrible situation? When we are introduced to Tora she is in the delicate period of adolescence, in the transition from girl to woman.

Hesar seinastu mánaðirnar havi eg verið staddur um ikki í versta vanda so í ræðuligum gjálvi. Mítt skip, sum siglir sjúkunnar hav, hevur jú sjógvin standandi høgt í hvørjum lastarúmi, tað flýtur tung liga og høggur ræðuliga. Eg hugsi mær tað, løgið at siga, liggja út fyri Góðvónar Høvda, men tað er einki symbolskt hugmynda samband; tí vón? Vón kortini! Hvussu steingrátt havið er, og hvussu døkt er í erva, má ein kortini minnast til, at ein er „føddur og uppvaksin millum teir militeru,“sum kvartermeistarin Krakk sigur í operuni „Hin knái Tinsoldáturin“. Tann tankin kann koma sníkjandi á meg í míni miklu møði, at nú kann krússið brátt sigast at vera fult. Ein kann kenna seg etsaðan inn í lívsnervina og hugsa: nunc libera me. Tá ræður um at minnast til Kraks gomlu ariu á Tórshavnar Skansa-vølli: Militerið við lavettirnar ræðist ikki bajonettirnar! Alraminst nú eigur eisini „Skansin at quitterast“. Tí Barbara vinnur framá við ikki so vánaligari ferð. Í øllum gjálvinum vinnur ein longri fram á vegin. Soleiðsi skrivar Jørgen-Frantz Jacobsen til vinmann in William Heinesen í februar 1938 ein mánað, áðrenn hann doyði. 16 ára dystur við tuberklarnar var av. Jørgen-Frantz Jacobsen varð 37 ár. ... These past months I have been if not in the greatest danger, then in the most terrifying tumultuous seas. My ship, which sails an ocean of sickness, has rising water in every hold. It floats heavily and cuts through the ocean ever so harshly. Strangely, I think lying here just off of Cape of Good Hope that there is no symbolic imagery – for hope? Hope nevertheless! However stone-grey the ocean and however dark the sky, one must still remember that we are “born and raised amongst militants”, as quartermaster Krak says in the opera “The Steadfast Tin Soldier”. The thought sometimes creeps into my head in all my weariness, that my cup is now full. One can feel etched into life’s nerve and think: nunc libera me. That’s when one must go back to Kraks old aria on Tórshavn’s Skansin field: The military with its canons does not fear the bayonets! In the least, Skansin should now be credited. For Barbara is gaining recognition at a fairly good speed. Life’s turbulence brings one further ahead. This is what Jørgen-Frantz Jacobsen writes to his friend William Heinesen in February 1938, one month before he died. His sixteen-year battle with tuberculosis had come to an end. Jørgen Frantz was 37-years old.

Fyrsta føroyska yrkingasavn við nýtsluvegleiðing. Vegleiðingin er: Dvøl við linjurnar og tak einstakar upp aftur, áðrenn tú heldur fram. Gert tú tað, fært tú eitt vaggandi stev í upplesturin, sum minnir um føroyskan dans. Okkurt, ið minnir um tvey fram og eitt aftur. Steðga á, bakka, krøk í nýtt, so birtast myndir, ið bregda seg hvør inn í aðra.

Ein syrgiligur tilburður setur gongd á skaldsøguna. Ein mamma doyr í barnferð frá 10 børnum. Ikki óvanligt fyri stórt hundrað árum síðan. Sorgin verður tagd burtur. Pápin giftist uppaftur. Børnini spjaðast, og lagnan lagar seg ógviliga ymist hjá teimum. Hetta er seinast í 19. øld, og allar rembingarnar í átrúnaði, politikki, fakfelagspolitikki og mentan, ið vóru um aldarskiftið, verða flættaðar inn í hesar lagnulýsingar – m.a. tann harðrendi Axel Fr. Moe, sum Dansk Indre Mission sendi til Føroya. Tann eina gentan, sum hevur stórar ætlanir við lívi sínum, fer á ein bóndagarð at tæna og forvinna sær nakrar krónur, tí hugurin liggur út í heim. Bóndin neyðtekur hana, og barn spyrst burturúr. Eingin fær at vita, hvør pápin er, men hon skal liva við skommini. Vit fylgja henni á einsomu leiðini at fóta sær eftir illgerðina. Hetta er ein stórbær søga í øllum stillum. Ein eym og kenslurík lagnu­søga, sum bara kundi fallið saman við øllum hinum, sum líkjast, men sum nú er skrivað til eina fína skaldsøgu. Høvuðspersónurin og tað, henni er fyri, er grundað á veruligan tilburð. ... A sad event launches the novel. A mother dies in childbirth, leaving 10 children behind. Not an uncommon occurrence some hundred years ago. The grief goes unmentioned. The father remarries. The children are divided, and their fates unfold in exceedingly different ways. We are at the end of the 19th century, and all the tremors that plunged through religion, politics, the labour movement, and culture at the turn of the century, are merged into these fateful stories – for example the tyrannical Axel Fr. Moe, whom the Danish Inner Mission sent to the Faroe Islands. One of the girls, who has great plans for her life, ventures off to a farm in order to serve and earn some cash, because the dream is to go abroad. The farmer rapes her, and a child is conceived. No one is told who the father is, but she is to live with the shame. We follow her on her lonely path to restitution after the misdeed. It is a noble story in all stillness. A tender and emotional story of fate, which may as well have faded into all the others like it, but which now has been written into a fine novel. The protagonist and her experiences are based on true events.

"Áðrenn tú sovnar" snýr seg um truplan kærleika og kynstrið at liva við eini familju, sum er eins ør og skroypilig sum flest allar aðrar familjur. Bókin er um eitt húski og eina ætt. Linn Ullmann heldur tað vera heilt sjálvsagt, at hon og aðrir ungir høvundar hugsa nógv um júst familjuna: "Familjan er nakað av tí áhugaverdasta, ið til er. Tú ert í brúdleypi, til eina ferming ella jarðarferð, og tú sært øll hesi fólkini, tú ert so nær skyld við. Tú ert góð við tey, ella nógv teirra, og kortini orkar tú ikki at vera ov leingi saman við teimum. Tað er so mangt løgið, so mangir knútar í eini familju, men hava vit hana ikki eru vit í einum undarligum tómrúmi. Eg vaks upp í eini tíð, tá ið kjarnuhúskið sum hugtak skuldi týnast, men tí hugburðinum mundu mong ikki trívast við. Nú er kjarnuhúskið við sínum virðum aftur í brennideplinum - ikki minst politiskt. Hetta ávirkar høvundar og filmskaparar, teir hyggja nú aftur at familjuni, sum vit øll eru partar av og sum eingin kann loysa seg frá. Og tað er ikki bara familjan, húskið, ættin ið verða viðgjørd. Spurningar um kærleika og Gud, teir stóru spurningarnir, sum vit fyri einum ættarliði síðan royndu at loysa okkum frá við at siga, at slíkt var ikki til. Eisini teir eru komnir aftur í brennidepilin. Tað er ein inniligur longsil í okkum eftir at verða uppií, vera partur av, samstundis sum tú kennir á tær, at alt skeiklast av lagi, tá ið tú roynir at gera longsilin til veruleika". Tað er ikki lætt. Als ikki. Men skemt og list kunnu hjálpa tær at draga undan. ... "Áðrenn tú sovnar" is about troublesome love and about the ability to live with a family which is just as insane and fragile as most other families. The book is about a household and a family. For Linn Ullmann it goes without saying that she and other young authors give thought to the family: “The family is one of the most interesting things we have. You’re in a wedding, at a church confirmation or at a funeral and you see all these people that you are related to. They are dear to you - many of them at least - and yet you do not want to be in their company for too long. There are so many strange things, so many hitches in a family, but if we do not have one we end up in a strange vacuum. I grew up in a time when the core family was a notion to be decimated but this was not a perspective that many were comfortable with. Now the core household is once again in the centre of attention - not least in the political arena. This has an effect on authors and film creators. They look back at the family which we all are a part of and which no-one can separate oneself from. And it’s not just the household, the family and the ancestors whon are investigated. Questions about love and God; the big questions which we a generation ago wanted to answer by saying that such things did not exist. These are also back in the limelight. In us there is a sincere longing to be a part of something, to belong, while at the same time everything seems to become distorted when you attempt to act upon this longing.” It is not easy. Not easy at all. But humour and art can help you along the way.

The Tenth Man is a novel that digs deep into the anguish resulting from treachery and lies. Interwoven into the story is also a tale of bravery and sacrifice. During World War II, in France, some men are captured and thrown into a prison camp. One day, the German officer informs them, that three of them will be shot in the morning, and they are to decide among themselves, which three it is to be. They draw lots, and the well-to-do lawyer, Chavel, is among the chosen three. But rather than give into fate, he offers his entire wealth to any man willing to take his place. The penniless Janvier, who has a poor health, sees the opportunity to save his mother and sister from poverty and hardship. When Chavel is released, he is devastated by shame and regret for what he has done. He has given up all his possessions in exchange for life – but he then goes on to dedicate his life to pay for his deed in an unexpected way.

The novel Kærleiki (Love) is the story of Vibekka and Jón, mother and son, who live in a small town in northern Norway. It is the day before Jón’s birthday. He is turning nine. Vibekka is late home from work. She reads, takes a bath, and later, she goes to the library. The library is closed, but she meets a man and disappears for hours … Practically without a word to her son … Jón is alone, contemplating what he might get for his birthday. He hopes, that she only left to go and get the ingredients for the birthday cake. The pair eat together, but otherwise, they live in different worlds. Vibekka does not even notice, that he has left to go and sell lottery tickets for the sports team, when she is to leave herself for the library. After this, we follow the two individually on their journey through the cold winter evening and impending night. All the while, apprehension and suspense grow, until the ice-cold consequences of selfishness unravel. In 2006, Kærleiki was named one of Norway’s top 25 novels by the Norwegian newspaper, Dagbladet.

It is on an ordinary Wednesday in November that a 42-year-old man is found murdered in an old house in Norðvík. This is world-class news for the six women who regularly meet to knit and jabber. Anita is the host, and she is the wife of the policeman who is set to solve the case. An acquaintance from their youth and school days has been murdered. The friends are shocked by the crime. But they have no clue that they have played a role in the tragedy and are a part of the horrors that now transpire. In the Faroes, life must go on, even when death rolls his dices.

Tíðin hevur tað við at arga okkum, og hon ber okkum alt upp í hendurnar, bara fyri at taka tað frá okkum aftur. Tað eru tríggjar vikur, síðan drongurin kom á Plássið við ómetaliga vandamiklum skaldskapi á bakinum, og fyri hvønn dag, ið gongur, verður teinurin millum Bárð og lívið náðileyst longri og longri. Jens, postberin, er komin vegin fram til Plássið, slapp við neyð og deyð undan høgættini, hóast várið er komið at vitja. Teir báðir, drongurin og Jens postberi, fara ein av seinastu døgunum í aprílmánaði yvir á Vetrarstrondina, har jarðrokið fær himmal og hav at verða eitt og beinir ættirnar og landslagið burtur. Hevur devulin onkuntíð skapt okkurt her í hesi verð, umframt pengar, er tað jarðrok á fjøllum. Harmur einglanna er sjálvstøðugt framhald av bókini Himmal og helviti, sum Sprotin gav út í 2022. Jón Kalman Stefánsson hevur seinastu árini tríggjar ferðir, verið tilnevndur Bókmentavirðisløn Norðurlanda-ráðsins. Hann fekk Íslendsku bókmentavirðislønina í 2005 fyri bókina Summarljós, og so kemur náttin. ... Time often teases us, offering everything only for it to be taken away again. It has been three weeks since the boy arrived at Plássið, carrying tremendously dangerous literature on his back, and with each passing day, the path between Bárður and life itself ruthlessly elongates. Jens, the postman, has arrived at Plássið, and barely escaped the northerly wind, despite the arrival of spring. On one of the final days of April, the boy and the postman venture to Vetrarstrond, where drifting snow blurs the boundary between heaven and ocean, erasing all traces of landscape and direction. If the devil ever created anything on this earth, apart from money, it must be drifting snow on mountains. Harmur einglanna is an independent sequel to the book Himmal og helviti, published by Sprotin in 2022. Jón Kalman Stefánsson has been nominated for the Nordic Council Literature Prize three times over the past few years. He received the Icelandic Literary Prize in 2005 for the book Summarljós, og so kemur náttin.

Bókin byggir á ástøði í positivari sálarfrøði, menningarsálarfrøði og neurosálarfrøði. Hon gevur boð upp á, hvussu til ber at arbeiða øðrvísi við sálarheilsu og trivnaði í verki og harvið betra trivnað og sjálvsvirði hjá børnum og ungum – geva teimum betri sálarheilsu.