Søgeresultater: 106

Í tíðarbilinum frá 1856 til 1940 vaks fólkatalið í Klaksvíkar kommunu úr umleið 280 upp í umleið 2200. Henda bókin er um hetta skeiðið. Tað er í hesum skeiði, at m.a. stóra fyritøkan hjá Beck og Sønner mennist úti í Klaksvík, og tað er í hesum tíðarskeiðnum, at Joen Fredrik Kjølbro, vanliga bara nevndur Kjølbro, mennir sína stóru reiðara- og handilsfyritøku í Klaksvík. Ta fyritøkuna, sum gjørdist størsta handilsfyritøkan í Føroyum longu í 1930-árunum. Tað er eisini um hetta mundið, at brøðrasamkoman, sum fekk stóran týdning fyri vinnuligu og mentanarligu gongdina í Klaksvík í 20. øld, festir røtur og fær stóra undirtøku í Klaksvík. Tað er hetta vinnuliga og mentanarliga byltingarskeið, 2. bind av Klaksvíkar søgu snýr seg um. ... From 1856 to 1940, the population of Klaksvík grew from around 280 people to about 2200. This volume focuses on that period. It is during this time that the Beck and Sønner, a major company, develops in Klaksvík, and it is also during this period that Joen Fredrik Kjølbro, usually simply called Kjølbro, begins what is to become a large fishing and retail business. His company became the largest busines in the Faroes already in the 1930s. It is also at this time that the Plymouth Brethren, who became very important both for the commercial and cultural development in the village during the 20. century, arrive in the village and gain a large following. Í tíðarbilinum frá 1856 til 1940 vaks fólkatalið í Klaksvíkar kommunu úr umleið 280 upp í umleið 2200. Henda bókin er um hetta skeiðið. It is this period of commercial and cultural revolutions that this second volume of the history of Klaksvík discusses.

Harrin gav ikki kollutari kúgv horn, at hon skuldi ikki stanga, og betur er at elska dyggan hund enn illan træl, segði hann, – tey tíðindi ganga sum rótasúpan, at Jens hevur lovað at spreingja kong í luftina. Tey siga, at hann hevur keypt sær ein fullan kassa við dynamitt. Bikarið er fult, rópti Jónas, kongavitjanin er avlýst. Lat meg tosa við Jensin, segði Hanna Malena og fór. Hon fann hann niðri í neystinum. Hann sat friðarligur á einum geisla og riðaði eina skrubbunót. Er tað satt, Jens, at tú hevur keypt ein kassa við dynamitt ? spurdi konan. Tað, sum ikki er lygn, er satt, segði Jens. Hvat skalt tú brúka dynamittið til ? At spreingja við. Hvat skalt tú spreingja ? Einki svar. Hvat skalt tú spreingja, Jens ? Sig tað nú. Kong. ... The Lord refrained from granting the cow horns to keep it from butting, and it is better to love a faithful dog than a bad man, he said, – the news spread like wildfire, that Jens had promised to blow up the king. They say he has bought a whole crate of dynamite. That was the final straw, Jónas shouted, the royal visit has been called off. Let me speak to the Jens, said Hanna Melena and left. She found him in the boathouse. Quietly, he sat there mending a dragnet. Is it true, Jens, that you have bought a whole crate of dynamite? the woman asked. That, which is not a lie, is true, said Jens. What will you use the dynamite for? An explosion. What explosion? No answer. What are you going to blow up, Jens? Tell me. The king.

Fáur dugir so væl sum Heðin Brú at greina og eyðmerkja ta gomlu tíðina, men endamál hansara var ikki at steðga tíðini, heldur at lýsa og greiða frá og seta tað farna upp sum tað var. "Teir lata seg væl í, teggja sóknarongul, skutil, línu, fastakast og vápn upp á seg og so avstað.„Pápin, hygg hvussu skjótt bilarnir fara“, øvundar Kálvur, hann gongur krýkin undir byrðini. „Minst til spikið, mítt barn, og klaga ikki, vit koma eisini til Seyrvágs, fram kemur hann, ið hóvliga fer. Nú skulu vit taka brekkuna so líðandi niðan á Háls. Vit hava ongan skund. Tað er ikki vant at ganga tvey fyri eitt við grind á Seyrvágsfirði.“„Skulu vit ikki fara eftir vegnum, pápin,“ spyr Kálvur og slær tærnar í ein stein. Nei, tað vildi Ketil ikki. „Tann gamla gøtan hevur verið nóg góð alla mína tíð, so man hon fara at hjálpast í dag við.“ ... These are the Faroe Islands as they were some fifty years ago: sea-washed and remote, with one generation still tied to the sea for sustenance, and a younger generation turning toward commerce and clerical work in the towns.At the post-hunt whale-meat auction, Ketil enthusiastically bids for more meat than he can afford. Thus when Ketil is seventy, he and his wife struggle to repay their debt.

Jørgen-Frantz setti sær fyri at siga eina søgu um sínar djúpastu kenslur. Søgan skuldi verða bæði lovsongur og harmaljóð á tí mótið, har neistar bresta ímillum lív og deyða. Tað mótið bygdi hann upp í fleiri fláum: einum søguligum botni, einum evni úr eini søgn og sjálvævisøguligum tilfari um kærleika til gentu, hann ikki fekk. Søgn var um prestseinkjuna Beintu, ið dró menn til sín og beindi fyri teimum. Jørgen-Frantz málar nýggja mynd av henni við sterkum erotiskum strokum. Hon tølir alt og øll, men undir hesari tølan býr eingin óndskapur, bara ódarvað náttúra. Søguliga Beinta gerst í skaldsøguni kvinna, sum fyllir menn við ovurhuga, knýtir teir eirindaleyst til sín, heftir teir at sær sum rúsevni. Nýggi presturin kemur í hóslag við prestseinkjuna, og hon verður ein sterkari brandur á himlinum enn Várharra sjálvur. Hetta elvir trega og ástarrús um somu leið. Hesa sálarkvøl verða vit sogin inní í skaldsøguni. Hetta er pínan og rúsurin, lesarin sleingist ímillum. ... Jørgen-Frantz was determined to tell a story about his deepest emotions. The story was to be both a song of praise and a lament at a crossroad where sparks fly between life and death. He used that crossroad and built it up in many layers: a historical foundation, a legendary tale and the autobiographical content about his love for a girl he could never have. The legendary tale was of the priest’s widow Beinta, who drew men to her only to do away with them. Jørgen-Frantz paints a new image of her with strong erotic strokes. She tempts everything and everyone, but underneath this seduction lives no evil, only unhindered nature. In the book, the historical Beinta becomes a woman who fills men with passion, ties them mercilessly to her and binds them to her like a drug. The new priest has an affair with the widow and she becomes a more powerful force then the Lord Himself. This leads to grief and the fervor of love at the same time.It is through soulful anguish that the book captivates us. The reader is tossed between waves of pain and excitement.

Faðirin fer við húskinum úr Føroyum til Suðuramerika at arbeiða fyri ST í nøkur ár. Sum vaksin ferðast børnini aftur, og tað birtir lív aftur í hálvgloymd minni og óbroytiligar sannleikar. --- A father uproots his Faroese family to work for the UN in South America for a few years. As adults his children return, and memories as well as irrefutable truths are awoken.

I have printed a copy of the photograph of grandfather and the children. It is the last chapter in the story of me. The photograph is hanging above the desk, fastened with two pins. When I look at my uncle and grandfather, I see myself. It is right before advent. The telephone rings, and on the other end is the unfamiliar voice of a woman. She says, that she is his cousin. He has never heard of or met any of his maternal relatives. He was never told, what his grandfather’s name was. Can it have something to do with the fact, that he is suffering from a hereditary disease and is now in a wheelchair? Is that the reason why they have been so secretive? He pays his old mother a visit and hopes to get some answers before it is too late … Hvíta baðhúsið (The White Bathroom) is a novel about shame, secrets, and the price of being honest.

Í hesum triðja bindinum fær Sólrún bundið allar teir leysu træðrirnar saman og lýst, hvussu høvuðspersónurin fótar sær. Undirtónin av nýggjum politiskum hugsjónum hoyrist eisini. Men nógv er at koma til sættis við. Hvat við loyndarmálunum, hon ber inni við seg sjálva? Fer Tórður nakrantíð at kenna sítt upphav? ... In this third volume, Sólrún Michelsen ties all threads together and depicts how the protagonist manages to land on her feet. New political undertones also reveal themselves. But there is still much left for the protagonist to confront. What about the secrets she carries? Will Tórur ever know his origins?

Hon byrjar við ein fjøtrandi lýsing av at flekja – neyv lýsing í hvørjum smáluti, myndarík og vøkur. Í einum verða vit enn eina ferð sogin inn á oyggjarnar, har einsligar sálir kunnu fjala seg í tómum toftum, har til ber at draga undan, bara tú dugir at seta gørn og orkar at taka eitt tak. Tey ósjónligu var næstan ein tíðarleys lýsing, tó at hon fór fram fyrst í 1900 árunum. Við hesari kemur samtíðin sjónligari og ógvisligari inn í myndina – pallmyndirnar eru frá seinna heimsbardaga, heystið 1944 og várið 1945. Ingrid fer av bøkjaraloftinum, har hon flekir fisk einar 10 tímar um dagin og fer aftur til Barroy og vónar, at skyldfólkini fóru at koma út á oynna. Smátt um smátt daga fólkini frá fyrstu bókini fram aftur. Meðan hon gongur sær fram við fjøruni, sær hon á fuglunum, ið stoyta seg, at okkurt flýtur í vatnskorpuni. Lík reka í land, og teirra millum kemur hon fram á illa brendan mann, sum er livandi. Ingrid veit ikki tá, at fangaskipið «Rigel» varð søkt í novembur 1944, og stivliga 2000 menn doyðu. Ingrid fær lív í aftur mannin. Hon verður ásttikin í honum, men má eisini má sleppa sær av aftur við hann, tí landið er hertikið. Síðan sígur umheimurin niður yvir tey, og har koma fólk, sum hava ilt í huga, jagstra fangar og fara illa við Ingrid. ... It begins with a spellbinding description of fish splitting – a thorough description of every detail, filled with imagery, beautiful. Suddenly, we are drawn back to the islands, where lonely souls hide among the empty ruins, where it is possible to pull through, as long as you know how to net and make the effort. Tey ósjónligu (The invisibles) was an almost timeless account despite its setting in the early 20th century. With this one, contemporary times fill the picture in a more obvious, vehement way – the stage is set during World War II, from the autumn of 1944 to spring of 1945. Ingrid leaves the cooper’s attic, where she splits fish 10 hours a day, and goes back to Barroy, hoping that the relatives would reach the island. Bit by bit, characters from the first book reappear. As she strolls along the beach, diving birds draw her attention to something that is floating on the surface of the water. Corpses are drifting ashore, and among them, she finds a severely burnt man, who is alive. At the time, Ingrid is unaware of the fact that the MS Rigel, which was used to transport German prisoners of war, was sunk in November 1944 with more than 2000 dead. Ingrid manages to revive the man. She falls in love with him but needs to get rid of him again, as the country is occupied. They are absorbed by the world around them, people with bad intentions arrive, they hunt prisoners, and abuse Ingrid.

Eitt lík verður funnið í eini kjallaraíbúð í Norðmýrini. Líkið av einum eldri manni, einum helviti av einum ódjóri. Onkur hevur skilliga beint fyri honum. Erlendur yvirløgreglumaður hjá rann­sóknarløgregluni í Reykjavík og samstarvsfelagar hansara fáa málið í hendur. Skjótt kemur undan kavi at hin myrdi hevur lagt eina slóð av neyðtøkum og yvirgangi eftir seg um alt Ísland. Men offrini hjá honum eru kortini fleiri enn bert tær neyðtiknu kvinn­urnar. Avkomið undan beistinum og eftirkomarar teirra fáa eina syndarliga lagnu. Mýrin er ein sjáldsama væl spunnin krimisøga, fjøltáttað og spenn­andi, skrivað við sálarfrøðiligum gløggskygni og neyvum ansi fyri samfelagsviðurskiftum. --- A corpse is found in a basement apartment in Norðmýri. It’s the body of an older man, a hell of a monster. Somebody has clearly done away with him. Erlendur, the police chief at the criminal investigation department in Reykjavik, and his colleagues are given the case. It soon comes to light that the murder victim has left a trail of rapes and terror behind him across Iceland. But his victims are however more than the women who were raped. The monster’s descendants and their offspring are given a tragic fate. "Jar City" is a remarkably well-spun thriller, diverse and exciting, written with psychological shrewdness and precise observations of society.

Tær hendingar, ið sagt verður frá í hesari skaldsøgu, fara fram undir krígnum 1939 – 45, fyri ein part í einari stórari føroyskari bygd, eitt nú eisini í Havnini. Hetta er ein døpur og hættislig tíð, men samstundis ein gulløld: tað er tann tíðin, tá ið hin føroyski sjómaðurin við síni váðasigling flutti ævintýrlig ognarvirði til landið, har lívshátturin knappliga broyttist frá fátækt til ovurnøgd, og samvitskuleyst happadráttarlyndi førdi skemd og siðloysi við sær. Søgan gevur eina keipumynd av menniskjum í hesum trølsliga heimi, men avdúkar samstundis ein ofta ótýdligan kjarna av sannleika. ... The incidents depicted in this novel occur during the war of 1939-45 in a small Faroese village as well as in Tórshavn. It is a bleak and dangerous time but at the same time it is a golden age. It is the period when the Faroese sailors through dangerous voyages transferred spectacular wealth to the islands, a time when life changed from poverty to affluence and where a careless risktaking lead to dishonour and immorality. The story portrays an image of people living in a sinister world while at the same time uncovering truths which often lie hidden.

Skaldsøgan Berlinaraspirnar kundi eins væl itið Arvasyndin. Hetta er søgan um tríggjar brøður. Margido Neshov er gamal drongur, miðskeiðis í fimmtiárunum og biðimaður í Tróndheimi. Á fedranna ættgarði uttan fyri býin býr eldri bróð­urin Tóri saman við gomlu mammu sínari, tí forfjónaða og ómæl­andi pápanum og øllum svínunum. Í Keypmannahavn býr triði bróðirin Erlendur, sum rýmdi ungur og sprakk út úr skápinum sum samkyndur. Hann er vindeygadekoratørur og býr saman við danska blaðstjór­an­um Krumma. Í vikuni fyri jól fær mamman heilabløðing og liggur fyri deyðanum. Teir tríggir koma saman um hana. Teir hava ikki borið eyga hvør við annan í óminni­­lig­­ar tíðir. Dóttir Tóra, Tórunn – sum pápi hennara nóg illa kennir – kemur eisini. Meðan móðirin liggur og stríðist, kemur tað fram, at røturnar, sum brøðurnir hava roynt at kvetta, eru djúpari, enn teir grunaðu. Og har koma nýggjar røtur undan kavi, sum teir als einki vistu um. --- The novel Berlin Poplars could as easily have been titled Original Sin. This is the story of three brothers. Margido Neshov is a bachelor, an undertaker in his middle forties who lives in Trondheim. His older brother Tóri lives on the family farm outside town with his old mother, his quiet and disregarded father and all the pigs. Erlendur, the third brother, lives in Copenhagen; he ran away from home in his youth and came out as gay. He is a window dresser and lives with Krumma, a newspaper editor. During the week running up to Christmas, their mother has a stroke and is dying. The three brothers reunite to be with her. They have not seen each other for as long as they can remember. Tóri’s daughter, Tórun, who hardly knows her father, joins them. As their mother fights her last battle, the brothers realise that the roots they have tried to cut run far deeper than they imagined. And new root of which none of them knew surface.

Ein maður liggur til at doyggja á Landssjúkrahúsinum, tí eitt mistak er hent. Men hví er tað komið so langt? Og hvør hevur ábyrgdina? Samstundis er politisk kapprenning um, hvussu Føroya Sjúkrahúsverk skal skipast í hæddini. Deyðasjúki maðurin og sjúkrahúsverkið eru høvuðspersónarnir í skaldsøguni, Gloymdur, sum byggir á veruligar hendingar. ... At the Faroese central hospital, a man has arrived at his final hours of life due to a mistake. How did it come this far? And who is to blame? Meanwhile, the political scramble to provide the best bid for a health care reform has reached new heights. The dying man and the Faroese health care service are the protagonists of the novel, Gloymdur (Forgotten), which is based on true events.