B – serie

29 January 1912. In a train compartment in Ogden, Utah, a Danish author was found unconscious. The 54-year-old Herman Bang was en route from New York to San Francisco as part of a round-the-world reading tour. It was a poignant end for a man whose life had been spent on the move. Having fled his birthplace on the island of Als ahead of the Prussian advance of 1864, he was later hounded out of Copenhagen, Berlin, Vienna and Prague by homophobic laws and hostility to his uncompromising social critique as journalist, novelist, actor and dramaturge. Dorrit Willumsen re-works Bang's life story in a series of compelling flashbacks that unfold during his last fateful train ride across the USA. Along the way, we are transported to an audience in St Petersburg with the Dowager Empress Maria Feodorovna, to a lovers' nest in a flea-ridden Prague boarding house, to the newsrooms and variety theatres of fin-de-siecle Copenhagen, and to a Norwegian mountainside, where Claude Monet has come to paint snow and lauds Bang's writing as literary impressionism. A pioneering journalist, author and dramatist, Herman Bang (1857–1912) was a key figure in Scandinavia's Modern Breakthrough. His major works include Haablose Slaegter (Hopeless Generations, 1880), Stuk (Stucco, 1887) and Tine (Tina, 1889).Dorrit Willumsen's Bang was awarded the Nordic Council Literature Prize, 1997.

Malin Forst is a precocious, devout twenty-year-old woman attending a Stockholm teachers' college in the 1930s. Confounded by a sudden crisis of faith, Malin plunges into a depression and a paralysis of will. Oscillating between poetic prose, social realism, fragments of correspondence, and imagined dialogues between the forces of nature, Crisis telescopes Malin's distress out into metaphysical planes and back, as her mind stages struggles between black and white, Dionysian and Apollonian, and with an everyday existence that has become unbearably arduous. And then an intense infatuation with a classmate reorients everything.

This is the first volume of a trilogy which marks the high point of outspokenness and originality of one of Norway's most controversial modern writers. Jens Bjørneboe was an author and polemicist of fierce energy and deep conviction, who throughout his career provoked and upset the establishment by his unrelenting attacks on its most sacred cows: a repressive school system, a hypocritical Christianity, an inhumane prison system, power-seeking politicians, corrupt police and depraved moral guardians – all concentrated in his particular bete noire: the authoritarian personality.With this trilogy, Bjørneboe turned his attention to a more general problem: the evil inherent in the human race itself. Why, his narrators ask despairingly, does man behave so inhumanely to his fellow creatures? The first volume is set in a middle-European principality, where the narrator is a servant of justice, employed to brush gowns and fill inkwells, and to be daily witness to injustice masquerading as a court of law. The experience sets him off on an odyssey through human experience and his own past, asking what went wrong with mankind.

Powderhouse is a novel which is set in an asylum for the criminally insane, where the narrator functions as a kind of porter, observing and commenting on the foibles of inmates and keepers alike. The patients are a motley collection, and their treatment is unorthodox to say the least; part of their treatment consists of composing and delivering a series of lectures on subjects dear to their hearts, such as the history of witchhunting and the most humane methods of execution. The doctors themselves have their own troubled history; and the narrator finds rich material amongst both for his study of the follies and evil of which mankind is capable. Yet he is not just a gloomy philosopher, but also a sensualist, and the novel is relieved by passages of lyrical beauty as he enjoys the velvety summer nights, the taste of black bread and white wine, and the gentle caresses of his lover.This is the first English translation of this novel from 1969 by the controversial Norwegian author Jens Bjørneboe, a man whose irreverent provocations of the sacred cows of his society several times landed him in a court of law. Powderhouse forms the second volume of a trilogy dedicated to exploring "The history of bestiality," following Moment of Freedom (1966), though it stands on its own with a different setting and narrator from the other two.

This volume marks the apex and the culmination of the provocative Norwegian author Jens Bjørneboe's investigations into the nature of evil. Here the study moves to a broader canvas than in earlier works; the enquiring narrator explores not just European history, but the crimes committed by Europeans against the rest of humanity in the name of expansion and conquest. Cortez' destruction of the Aztec empire and Pisarro's of the Incas were crimes of genocide comparable with Hitler's against the Jews, and Columbus' glorious discovery of America becomes simply an act of colonialism: "The Indians had discovered America long before I came." His realization of European culpability and anticipation of the blood-bath that will ensue when the Third World claims its rightful share of the world's riches lead the narrator into a long plunge into the tunnel of depression, from which he emerges in a cathartic realization that human beings have not only an unfathomable capacity for evil, but also an immeasurable capacity for good; man is the destroyer of all things, but also the renewer of all things. The 25 years which have passed since this novel was first published have not diminished its relevance and its urgency.

In an intricate study of relationships in which marriage is the only respectable career for a woman. Sophie, the youngest of four daughters of a cynical and disappointed mother, struggles against society's precepts and her own conditioning to be allowed to make an independent choice.

In Tallinn in 1946 a young boy is transfixed by the beauty of a luxurious cream-coloured car gliding down the street. It is a Russian Pobeda, a car called Victory. The sympathetic driver invites the boy for a ride and enquires about his family. Soon the boy's father disappears. Ilmar Taska's debut novel captures the distrust and fear among Estonians living under Soviet occupation after World War II. The reader is transported to a world seen through the eyes of a young boy, where it is di cult to know who is right and who is wrong, be they occupiers or occupied. Resistance ghters, exiles, informants and torturers all nd themselves living in Stalin's long shadow.Ilmar Taska is best known in his native Estonia as a lm director and producer. Pobeda 1946: A Car Called Victory is his first full novel, and is based on a prize-winning short story from 2014.

Satan has a problem: God has come to the conclusion that it is unfair to send souls to hell if they are fundamentally incapable of living a decent life on earth. If this is the case, then hell will be shut down, and the human race written off as an unfortunate mistake. Satan is given the chance to prove that human beings are capable of salvation - thus ensuring the survival of hell - if he agrees to live as a human being and demonstrate that it is possible to live a righteous life. St Peter suggests that life as a farmer might offer Satan the best chance of success, because of the catalogue of privations he will be forced to endure. And so Satan ends up back on earth, living as Jurka, a great bear of a man, the put-upon tenant of a run-down Estonian farm. His patience and good nature are sorely tested by the machinations of his scheming, unscrupulous landlord and the social and religious hypocrisy he encounters.The Misadventures of the New Satan is the last novel by Estonia's greatest twentieth-century writer, Anton Tammsaare (1876-1940), and it constitutes a fitting summation of the themes that occupied him throughout his writing: the search for truth and social justice, and the struggle against corruption and greed. Tammsaare combines a satire on the inequalities of rural life and absurdly rigid social attitudes with biblical themes, mythology, and bawdy folklore. The novel has proved to be an enduring classic of European literature.

Suzanne Brogger's work is known in English through translations of her novels The Jade Cat (1997) and the sensational Deliver Us From Love (1976), which was recommended by Henry Miller as the most daring and courageous book since Rabelais. This volume contains her autobiographical meditation "A Fighting Pig's Too Tough to Eat", and a selection of essays from the past twenty years, showing her development from social rebel to iconoclast and visionary.Suzanne Brogger (b. 1944) has always been unconventional in her lifestyle and in her writing, in a way that has often prompted comparison with her fellow countrywoman Karen Blixen. She writes stories, poems, plays and essays, and many of her writings transgress genre boundaries. Her pronouncements and her activities have excited much controversy in Denmark, and her books have been translated into thirteen languages. Beginning as a polemicist, she has matured into a philosophical writer for whom the writing process is a continuous meditation on life, death and eros.

With high hopes, Captain Riber embarks with his young bride Aurora on a voyage to exotic destinations. But they are an ill-matched pair; her naive illusions are shattered by the realities of married life and the seediness of society in foreign ports, whilst his hopes of domestic bliss are frustrated by his wife's unhappiness. Life on board ship becomes a private hell, as Aurora's obsession with Riber's adventures as a carefree bachelor begins to undermine his sanity. Ultimately both are betrayed by a hypocritical society which imposes a warped view of sexuality on its most vulnerable members.Amalie Skram was a contemporary of Henrik Ibsen, and like him a fierce critic of repressive social mores and hypocrisy. Many of her works make an impassioned statement on the way women of all classes are imprisoned in their social roles, contributing to the great debate about sexual morality which engaged so many Nordic writers in the late nineteenth century. Her female characters are independent, rebellious, even reckless; but their upbringing and their circumstances combine to deny them the fulfilment their creator so painfully won for herself.

August Strindberg (1849–1912) is best known outside Sweden as a dramatist, but he was also a prolific writer of novels, short stories, essays, journalism and poetry – as well as a notable artist and photographer. Although he spent many years abroad, Strindberg was born, grew up and died in Stockholm and The Red Room is perhaps the quintessential Stockholm novel. A satire of the rapidly changing society of the 1870s, it was Strindberg's first novel and marked his literary breakthrough: it offers, he said, 'a panorama of a society I don't love and which has never loved me'. It contains some of the great set-piece scenes in Swedish literature, a gallery of unforgettable caricatures in the spirit of Dickens, humour, pathos and satirical targets as apt now as they were then. The Red Room is often called Sweden's first modern novel, and it remains modern almost a century and a half later.

Life in a grand Norwegian mountain hotel is not what it used to be; Norwegians have deserted the traditions of their nati- ve land, with its invigorating ski trips and lake-fresh trout, for charter tours to `the infernal south'. Sedd's grandparents are fighting a losing battle to maintain standards at Fa vnesheim hotel, which has been in the family for generations, whilst the young Sedd observes developments with a keen eye for the absurd and a growing sense of unease that all is not well. He has his own demons too, as he tries to unearth the truth about his father, an Indian doctor who died as Sedd was conceived, and his mother, who was `taken by Time' when he was a toddler and whom he remembers only as a foxy-red sheen in the air.Death stalks this peaceful place, as cracks in the polished surface begin to show. The first to die is the bank manager, who has kept the hotel going on credit, and whose demi- se has ominous consequences for the whole district. Then the new bank manager's daughter almost literally pesters the life out of Sedd; he has trained as a life-saver, but finds saving people more complicated than he had thought. He becomes obsessed with a locked room, which he imagines will reveal the truth about his mother - but it refuses to give up its secrets.Erik Fosnes Hansen's latest work from 2016 is a coming- of-age novel with a narrator who stands comparison with Holden Caulfield or David Copperfield.

One August day in 2008 the Norwegian Labour Party's most colourful MP, Arve Storefjeld, is discovered in a remote cabin in the country, together with four of his family and friends, all with their throats slit. This unprecedented crime in the peaceful backwater of Norway sends shudders through the national psyche, as the search for the perpetrators begins and people have to adjust to the terrifying thought: it can happen here too.The rapidly unfolding events are narrated from the stand- points of three observers who in different ways become drawn in to the investigation: Ine Wang, a young journalist who has just finished a biography of Storefjeld and realises that the tragedy has presented her with an irresistible scoop; Peter Malm, a judge whose ideal of a quiet contemplative life away from public scrutiny is turned upside-down by his unwilling involvement in the case; and Nicolai Berge, a former boyfriend of one of the victims, who emerges as the main suspect and a focus for the public demand for catharsis.Published six years after the trauma of 22 July 2011, when 77 Norwegians were killed in a one-man assault on the government offices in Oslo and a Young Labour camp on the island of Utoya, Jan Kjaerstad's novel explores the vulnerabilities of modern life and the terrifying unpredictability of acts of terror.

From birth, Vega Maria Dreary is caught in a vice of conflicting parental expectations. Her father brings her up to admire history's heroic male adventurers, while her mother channels her towards housework and conformity. But when puberty comes, paternal half-promises evaporate and Vega has to fight her own way out of the domestic cage. In a time of revolution and civil war in early twentieth-century Finland, she finds it hard to identify her own calling, alighting first on the cause of feminism but feeling her way towards a wider humanitarian mission.The adult Vega looks back on her younger self with ironic humour, but is in despair about the end of a rocky relationship with her beloved Ta, now transformed by his wartime experiences. She recovers and opts to emulate her childhood hero Livingstone, beating new paths through her own psychological jungle.A kaleidoscope of changing roles for Vega whirls us through this compelling modernist novel, multi-layered but eminently accessible, with a wonderful feel for language, and vibrant evocations of an era and a place. Considered by many to be Hagar Olsson's best novel, Chitambo is now available in English for the first time.