Og været skiftet, og det ble varmere
In this age of global warming awareness, why are there so few novels in Norway about global warming issues?
Men bøkene forble de samme. Hvorfor har ikke klimakrisen en mer sentral plass i norsk samtidslitteratur?
In other words, isn't it time for Norwegian novelist to get with the program and start writing cli-fi novels rather than sitting around on the fannies writing boring long-winded diaries about their boring lives?
by Mr. Olaf Haagensen in OSLO
In other words, isn't it time for Norwegian novelist to get with the program and start writing cli-fi novels rather than sitting around on the fannies writing boring long-winded diaries about their boring lives?
by Mr. Olaf Haagensen in OSLO
published on MAY 27, 2016 in the Anthrocene Age
in the ''MORGENBLADET'' newspaper in Norway
PARTIAL GOOGLE TRANSLATIONS EXCERPTS BELOW:
-----------------------------------
PREFACE AND INTRODUCTION by Dan Bloom, a reader in Taiwan
In August 2007, a Norwegian
Literature Festival in Molde (The Bjørnson Festival) was held where the topic
was "Klima", or "whether climate change is being taken seriously enough in
today's Norwegian literary circles".
The Molde festival was the first of
two literary festivals in Norway in 2007 that focused on novels and movies about the major issue facing humanity in the Anthrocene, namely man-made global warming and its future impacts and societal repercussions. Such novels at that point in time did not have a name but they would later be dubbed cli-fi novels and cli-fi movies via the Cli-Fi Report website at Cli-Fi.Net
The other literary fsetival in Norway that year (2007) was in Stavanger. in September, and was called
"Klimaskifte" — "Climate Shift".
In Molde, the world–famous Norwegian
author Jostein Gaarder — of "Sophie's World" fame — told audiences that even
after making his publisher [Aschehough] millions upon millions of dollars from the
sales of ''Sophie's World'' and similar books, a
climate–themed novel that he submitted to them had been rejected by the same publisher.
Ouch.
So maybe in Norway (and other countries, too)
there's a story to be told about publishers and political and cultural conservatism in the
literary milieu, that has the book industry and media asking time and time
again, as if they don't know, why there is so little literary fiction
about the vast climate crisis we face as a humanity of 10 billion people, when it might be much easier simply to
look in the mirror, no?
In any case, things haven't really changed much in
the nine years since 2007 in Norway. Literary critics and book reviewers and newspaper editors and "talking heads" on TV are still basically asking the very same questions
as were heard in Molde in 2007: "Whether climate change and man-made global warming issues are being taken seriously enough
in today's literary circles and if not, why not?"
Is it possible, maybe, perhaps, sort of, if such a case could be made, possibily, that such cultural and political conservatism could
be in any way related to the fact that Norway is one of the world's worst
remaining petroleum exporters, along with Saudia Arabia, Iran, Alaska and Switzerland?
That is what this Morgenbladet article is sort of all about. The answers vary. The questions still remain. However, along with novelists and screenwriters in Sweden and Finland and Denmark and Holland, writers in Nordic countries are beginning to see the light and get the message and I do believe that in the next 10 to 20 years the world will witness the publication of dozens of important cli-fi novels from Norway.
Stay tuned.
=======================================
Meanwhile, check out these partial translations below in RED:
-----------------------------------
PREFACE AND INTRODUCTION by Dan Bloom, a reader in Taiwan
In August 2007, a Norwegian
Literature Festival in Molde (The Bjørnson Festival) was held where the topic
was "Klima", or "whether climate change is being taken seriously enough in
today's Norwegian literary circles".
The Molde festival was the first of
two literary festivals in Norway in 2007 that focused on novels and movies about the major issue facing humanity in the Anthrocene, namely man-made global warming and its future impacts and societal repercussions. Such novels at that point in time did not have a name but they would later be dubbed cli-fi novels and cli-fi movies via the Cli-Fi Report website at Cli-Fi.Net
The other literary fsetival in Norway that year (2007) was in Stavanger. in September, and was called
"Klimaskifte" — "Climate Shift".
In Molde, the world–famous Norwegian
author Jostein Gaarder — of "Sophie's World" fame — told audiences that even
after making his publisher [Aschehough] millions upon millions of dollars from the
sales of ''Sophie's World'' and similar books, a
climate–themed novel that he submitted to them had been rejected by the same publisher.
Ouch.
So maybe in Norway (and other countries, too)
there's a story to be told about publishers and political and cultural conservatism in the
literary milieu, that has the book industry and media asking time and time
again, as if they don't know, why there is so little literary fiction
about the vast climate crisis we face as a humanity of 10 billion people, when it might be much easier simply to
look in the mirror, no?
In any case, things haven't really changed much in
the nine years since 2007 in Norway. Literary critics and book reviewers and newspaper editors and "talking heads" on TV are still basically asking the very same questions
as were heard in Molde in 2007: "Whether climate change and man-made global warming issues are being taken seriously enough
in today's literary circles and if not, why not?"
Is it possible, maybe, perhaps, sort of, if such a case could be made, possibily, that such cultural and political conservatism could
be in any way related to the fact that Norway is one of the world's worst
remaining petroleum exporters, along with Saudia Arabia, Iran, Alaska and Switzerland?
That is what this Morgenbladet article is sort of all about. The answers vary. The questions still remain. However, along with novelists and screenwriters in Sweden and Finland and Denmark and Holland, writers in Nordic countries are beginning to see the light and get the message and I do believe that in the next 10 to 20 years the world will witness the publication of dozens of important cli-fi novels from Norway.
Stay tuned.
=======================================
Meanwhile, check out these partial translations below in RED:
2015 var det varmeste året noensinne. 15 av de 16 varmeste årene – fra 1880 til i dag, den historiske perioden man har sikre data om – har inntrufet etter år 2000. Vi trenger ikke lese rapportene fra FNs klimapanel lenger for å få bekreftet at klimaendringene er reelle, det holder å se på gradestokken eller ut av vinduet.
Hvis man derimot kaster et sveipende blikk ut over den norske samtidslitteraturen, ser man en ganske annen verden enn den som beinner seg utenfor stuevinduene til de tusen lesende hjem: – Etter manusbunken å dømme beinner vi oss ikke i en klimakrise, sier Kari Marstein, redaksjonssjef for norsk skjønnlitteratur i Gyldendal Norsk Forlag, som hvert år mottar rundt tusen skjønnlitterære manus. «Ja, men … »
2015 was the warmest year ever. 15 of the 16 hottest years-from 1880 to the present day, the historic period you have secure data about-have inntrufet after the year 2000. We don't need to read the reports from the intergovernmental panel on longer to confirm that climate change is real, it keeps watch on the thermometer or out the window. If one, however, throws a sweeping look out over the Norwegian contemporary literature, one sees quite a different world than the one outside the living room beinner Windows of the thousand reading home:-After manusbunken to judge beinner we can't get in a climate crisis, "said Kari Marstein, editorial director for Norwegian fiction in Norwegian publishing house of Gyldendal, which each year receives....
2015 was the warmest year ever. 15 of the 16 hottest years-from 1880 to the present day, the historic period you have secure data about-have inntrufet after the year 2000. We don't need to read the reports from the intergovernmental panel on longer to confirm that climate change is real, it keeps watch on the thermometer or out the window. If one, however, throws a sweeping look out over the Norwegian contemporary literature, one sees quite a different world than the one outside the living room beinner Windows of the thousand reading home:-After manusbunken to judge beinner we can't get in a climate crisis, "said Kari Marstein, editorial director for Norwegian fiction in Norwegian publishing house of Gyldendal, which each year receives....
Vi har invitert et knippe av landets litteraturhoder til høyttenkning: Er de enige i påstanden «Klimakrisen har ingen sentral plass i norsk samtidslitteratur»? Svarene de ga kan oppsummeres i «Ja, men … ».
MEN fordi alle er snare med å nevne eksempler på det vi veldig grovt kan kalle «klimalitteratur», altså skjønnlitteratur som på en eller annen måte har klimakrisen og/eller det økologiske sammenbruddet som (hoved)tema, og titlene er ikke obskure: Inger Elisabeth Hansens diktsamling Å resirkulere lengselen, avrenning foregår mottok Kritikerprisen for et par måneder siden; Gert Nygårdshaugs roman Mengele Zoo (1989) ble kåret til det norske folks favorittbok i 2007; Brit Bildøens kritikerroste roman Sju dagar i august fra 2014 vant P2-lytternes romanpris.
Og likevel JA fordi misforholdet mellom klimakrisens alvor og merket den avsetter i skjønnlitteraturen oppleves som påtakelig. Virkelighetens regnstormer drypper liksom ikke gjennom taket i det norske litteraturhuset, der det psykoHvis klimakrisen er et litterært univers, er det et takknemlig litterært univers å hente ned.
We have invited a handful of the country's literature heads to loud thinking: they agree with the statement "the climate crisis have no central place in Norwegian contemporary literature"?
The answers they gave can be summed up in the "Yes, but ... ». BUT because everyone is snare by mentioning the examples of what we very rough can call "climate literature", i.e. fiction which on one way or another have the climate crisis and/or the ecological collapse as the (main) theme, and the titles are not obscure: Inger Elisabeth Hansen's collection of poetry to recycle the longing, the runoff takes place received the Norwegian critics Prize for a couple of months ago; Gert Nygårdshaugs novel Mengele Zoo (1989) was voted the Norwegian people's favorite book in 2007; Brit Bildøens critically acclaimed novel Seven days in august from 2014 P2-novel won the listeners ' price. And yet yes because the disparity between the climate crisis seriously and marked it accrue in fiction is perceived as significant. The rain storms dripping somehow not through the roof in the Norwegian House of literature,
The answers they gave can be summed up in the "Yes, but ... ». BUT because everyone is snare by mentioning the examples of what we very rough can call "climate literature", i.e. fiction which on one way or another have the climate crisis and/or the ecological collapse as the (main) theme, and the titles are not obscure: Inger Elisabeth Hansen's collection of poetry to recycle the longing, the runoff takes place received the Norwegian critics Prize for a couple of months ago; Gert Nygårdshaugs novel Mengele Zoo (1989) was voted the Norwegian people's favorite book in 2007; Brit Bildøens critically acclaimed novel Seven days in august from 2014 P2-novel won the listeners ' price. And yet yes because the disparity between the climate crisis seriously and marked it accrue in fiction is perceived as significant. The rain storms dripping somehow not through the roof in the Norwegian House of literature,
...naturen brukes til å peke tilbake på mennesket, men den som interesserer seg for naturen i seg selv, får man et ganske annet bilde, sier Riley. Han undrer seg over at tankegodset som ligger i denne tradisjonen, ikke inner mer gjenklang i dagens kritikk: – Kanskje er det for stort press på kritikerne til å felle dommer heller enn å utlegge forestillingsverdenene i litteraturen? Feel good om klimaet? Forfatter Brit Bildøen tror en grunn til at det innes lite klimalitteratur henger sammen med vår nære litteraturhistorie: – Politisk litteratur har hatt lav status både blant forfattere og kritikere siden 70-tallet. Bildøen har skrevet en av de hyppigst nevnte eksemplene på klimalitteratur i rundspørringen, Sju dagar i august (2014). Romanen, som er lagt noen få år inn i fremtiden, vever klimakrisen inn i fortellingen om Soie og Otto, som lever i etterdønningene av terrorangrepet mot Utøya, der Soie mistet datteren sin. – For meg er det interessant at det er den romanen som blir trukket frem i og med at jeg ga ut Adam Hiorths veg noen år før, sier Bildøen. Hun karakteriserer Adam Hiorths veg (2011) – romanen er en fortelling i tradisjonen etter Don Quijote om en miljøverner, en dokumentarilmskaper og en eventyrlig sykkeltur – som en «satire» og «en feel good-roman om klimakrisen», og kommenterer: – Den eksplisitt politiske litteraturen trefer mottaksapparatet dårligere enn den litteraturen hvor politikken er mer gjemt mellom linjene. Takknemlig univers.
... nature is used to point back at the man, but the one that interested in nature in itself, you get a quite different picture, "said Riley. He wonders of that mindset that is located in this tradition, not inner more resonates in today's criticism:-maybe it is too big pressure on critics to trap judge rather than expounding the Envisioning worlds in the literature? Feel good about the climate? Author Brit Bildøen, think a reason that the little literature innes climate with our recent literary history:-Political literature has had low status both among writers and critics since the 70 's. Bildøen has written one of the most frequently mentioned examples of the climate literature in the survey, Seven days in august (2014). The novel, which has been added a few years into the future, weaves the climate crisis into the tale of Soie and Otto, who lives in the aftermath of the terrorist attack against The island, which lost their daughter Soie. -For me it is interesting that it is the novel that is being drawn
En oppfatning som ofte synes å lure i bakgrunnen når man snakker om klimakrisen og litteratur, er at klimakrisen på et vis ligger bortenfor litteraturens kjerneområde – det menneskelige – og kanskje dermed også bortenfor dens fortelleformer. Klimakrisen utfolder seg i det ikke-menneskelige, og hvordan ser en ikkemenneskelig litteratur ut? Bildøen mener at klimakrisen tvert imot plasserer seg godt innenfor «det menneskelige»:
– Man trenger ikke å være ekspert på miljø for å skrive noe av betydning, for klimakrisen handler jo ikke bare om CO2 og oljeboring, den handler også veldig mye om fortrengning, om psykologi. Hvem er vi som lever oppi dette her? Hvordan kan vi tillate at det skjer? Det er mange interessante psykologiske tema forbundet med klimakrisen i tillegg til det enorme faktahelvetet som ligger der. Forfatterkollega Mette Karlsvik, som med romanen Den beste hausten er etter monsunen (2014) har skrevet det vi her kaller klimalitteratur, går et hakk lenger enn Bildøen: – Hvis klimakrisen er et litterært univers, er det et takknemlig litterært univers å hente ned. Man får veldig mye gratis der, sier hun, og utdyper:
– På et vis kan man bare ta sagaforfatterens rolle og hente ned kjensgjerningene, og så har man en dramatisk tekst eller en poetisk tekst, eller hvilken som helst sjanger, krim for den saks skyld. Jeg har en gåte, og protagonister og antagonister. Min rolle kan være å rydde – en metode som kan kle temaet. Redaksjonssjef Riley på sin side savner mer av det vi kanskje kan kalle «den lille litteraturen» om klimakrisen, en litteratur som beskjeftiger seg med sorgen man kan føle i en klimaendret hverdag:
A perception that often seem to lure in the background when talking about the climate crisis and literature, is that the climate crisis on a show is located beyond the literary core area-the human-and may thus also beyond its telling forms. The climate crisis unfolds in the non-human, and what does an ikkemenneskelig literature? Bildøen believes that the climate crisis on the contrary puts them well within "the human":-you don't need to be an expert on the environment to write something of importance, for the climate crisis is not only about CO2 and oil drilling, it's also very much about displacement, about psychology. Who are we who live in this here? How can we allow it to happen? There are many interesting psychological theme associated with the climate crisis in addition to the huge facts. the hell Author colleague Mette Karlsvik, as with the novel the best hausten is after the monsoon (2014) has written what we here call the climate literature, go a notch further than Bildøen:-
– Hvis Jan Erik Vold kan skrive dikt om at blåtrikken forsvinner, må det vel være mulig å skrive dikt om at snøen forsvinner? Inn i dyptiden. Den moderate og foreløpige konklusjonen på undersøkelsen må bli at klimalitteratur både er mulig og eksisterende – selv om man kunne ønske at den hadde en mer sentral plass i den brede, ofentlige litteratursamtalen. Og det kan man godt forestille seg at den får. Audun Lindholm, redaktør for tidsskriftet Vagant, påpeker at det særlig i den yngre norske poesien er vilje til å tenke inn perspektiver som overskrider enkeltmenneskets tid- og stedsbundethet, altså perspektiver som synes særlig velegnet for litterær behandling av klimakrisen, som er global i sitt omfang, påvirker alle jordens arter og utspiller seg over århundrer. Lindholm nevner som eksempler Maria Dorothea Schrattenholz’ Atlaspunkt (2015), der menneskeheten migrerer til Mars, og Joanna Rzadkowskas Gjentagelsestvang (2012), en evolusjonsfantasi om muterte mennesker.
- If Jan Erik Vold can write poems about the blue tram disappears, it must surely be possible to write poems about the snow disappears? Into the dyptiden. The moderate and preliminary conclusion to the survey must be that the climate literature is both possible and existing-even if one could wish that it had a more central place in the broad, literature online public conversation. And there, one can well imagine that the get. Audun Lindholm, editor for the magazine Vagant, points out that especially in the younger Norwegian poetry is the willingness to think in perspectives that exceed the simple man's time-and location-bound unit, i.e. perspectives that seem especially suitable for literary treatment of the climate crisis, which is global in its scope, affecting all of the Earth's species, and unfolding over centuries. Lindholm mention as examples Maria Dorothea Schrattenholz ' Atlas point (2015), where humanity migrating to Mars, and Joanna Rzadkowskas Replay forced (2012), an evolutionary fantasy about mutant people.
– Det gjelder å være elastisk i sine forestillinger om hva slags litteratur som kan være nyttig i klimadebatten, sier Lindholm, som trekker inn evolusjonsbiologien når han beskriver den unge poesien. – Noen evolusjonsbiologer er opptatt av begrepsparet «inngruppe» og «utgruppe». «Inngruppen» er de som ligner deg selv og beinner seg i din umiddelbare nærhet. Vi føler sympati kun med inngruppen, sies det. Men for å takle klimakrisen må vi lære oss å tenke også på utgruppen – altså de som er langt unna eller ikke ligner på oss selv, ja, kanskje ennå ikke er født. Litteratur kan utvide vår følelse av samhørighet og ansvar.
- It comes to be elastic in their notions of what kind of literature which can be useful in the climate debate, "said Lindholm, which draws in evolutionary biology when he describes the young poetry. -Some evolutionary biologists are concerned with the conceptual pair "inngruppe" and "utgruppe". "Inngruppen" are the ones that are similar to yourself and your immediate beinner in the vicinity. We feel sympathy only with inngruppen, it is said, but to tackle the climate crisis, we need to teach us to think also on utgruppen-the that is far away or not is similar to ourselves, Yes, perhaps not yet born. Literature can expand our sense of cohesion and responsibility.
--------------
– Når såpass mange yngre forfattere ikke skriver med familien eller nasjonen eller engang menneskeheten som inngruppe, tyder det på at følelsen av ansvar og samhørighet er i endring. Den unge litteraturens evolusjonsfantasier er et uttrykk for at omsorgen vokser til å favne også andre vesener, og for at klodens tilstand gjør at vi interesserer oss mer og mer for utviklingslinjer som strekker seg utover det enkelte menneskelivet, inn i dyptiden.
-When so many younger writers do not write with the family or nation or even humanity as inngruppe, it suggests that the sense of responsibility and cohesion is changing.
The young literary evolution is an expression of the fantasies that the care grows to embrace also other beings, and that the planet's condition allows us interests us more and more for developing lines that extend beyond the individual human life, into the dyptiden.
... nature is used to point back at the man, but the one that interested in nature in itself, you get a quite different picture, "said Riley. He wonders of that mindset that is located in this tradition, not inner more resonates in today's criticism:-maybe it is too big pressure on critics to trap judge rather than expounding the Envisioning worlds in the literature? Feel good about the climate? Author Brit Bildøen, think a reason that the little literature innes climate with our recent literary history:-Political literature has had low status both among writers and critics since the 70 's. Bildøen has written one of the most frequently mentioned examples of the climate literature in the survey, Seven days in august (2014). The novel, which has been added a few years into the future, weaves the climate crisis into the tale of Soie and Otto, who lives in the aftermath of the terrorist attack against The island, which lost their daughter Soie. -For me it is interesting that it is the novel that is being drawn
En oppfatning som ofte synes å lure i bakgrunnen når man snakker om klimakrisen og litteratur, er at klimakrisen på et vis ligger bortenfor litteraturens kjerneområde – det menneskelige – og kanskje dermed også bortenfor dens fortelleformer. Klimakrisen utfolder seg i det ikke-menneskelige, og hvordan ser en ikkemenneskelig litteratur ut? Bildøen mener at klimakrisen tvert imot plasserer seg godt innenfor «det menneskelige»:
– Man trenger ikke å være ekspert på miljø for å skrive noe av betydning, for klimakrisen handler jo ikke bare om CO2 og oljeboring, den handler også veldig mye om fortrengning, om psykologi. Hvem er vi som lever oppi dette her? Hvordan kan vi tillate at det skjer? Det er mange interessante psykologiske tema forbundet med klimakrisen i tillegg til det enorme faktahelvetet som ligger der. Forfatterkollega Mette Karlsvik, som med romanen Den beste hausten er etter monsunen (2014) har skrevet det vi her kaller klimalitteratur, går et hakk lenger enn Bildøen: – Hvis klimakrisen er et litterært univers, er det et takknemlig litterært univers å hente ned. Man får veldig mye gratis der, sier hun, og utdyper:
– På et vis kan man bare ta sagaforfatterens rolle og hente ned kjensgjerningene, og så har man en dramatisk tekst eller en poetisk tekst, eller hvilken som helst sjanger, krim for den saks skyld. Jeg har en gåte, og protagonister og antagonister. Min rolle kan være å rydde – en metode som kan kle temaet. Redaksjonssjef Riley på sin side savner mer av det vi kanskje kan kalle «den lille litteraturen» om klimakrisen, en litteratur som beskjeftiger seg med sorgen man kan føle i en klimaendret hverdag:
A perception that often seem to lure in the background when talking about the climate crisis and literature, is that the climate crisis on a show is located beyond the literary core area-the human-and may thus also beyond its telling forms. The climate crisis unfolds in the non-human, and what does an ikkemenneskelig literature? Bildøen believes that the climate crisis on the contrary puts them well within "the human":-you don't need to be an expert on the environment to write something of importance, for the climate crisis is not only about CO2 and oil drilling, it's also very much about displacement, about psychology. Who are we who live in this here? How can we allow it to happen? There are many interesting psychological theme associated with the climate crisis in addition to the huge facts. the hell Author colleague Mette Karlsvik, as with the novel the best hausten is after the monsoon (2014) has written what we here call the climate literature, go a notch further than Bildøen:-
– Hvis Jan Erik Vold kan skrive dikt om at blåtrikken forsvinner, må det vel være mulig å skrive dikt om at snøen forsvinner? Inn i dyptiden. Den moderate og foreløpige konklusjonen på undersøkelsen må bli at klimalitteratur både er mulig og eksisterende – selv om man kunne ønske at den hadde en mer sentral plass i den brede, ofentlige litteratursamtalen. Og det kan man godt forestille seg at den får. Audun Lindholm, redaktør for tidsskriftet Vagant, påpeker at det særlig i den yngre norske poesien er vilje til å tenke inn perspektiver som overskrider enkeltmenneskets tid- og stedsbundethet, altså perspektiver som synes særlig velegnet for litterær behandling av klimakrisen, som er global i sitt omfang, påvirker alle jordens arter og utspiller seg over århundrer. Lindholm nevner som eksempler Maria Dorothea Schrattenholz’ Atlaspunkt (2015), der menneskeheten migrerer til Mars, og Joanna Rzadkowskas Gjentagelsestvang (2012), en evolusjonsfantasi om muterte mennesker.
- If Jan Erik Vold can write poems about the blue tram disappears, it must surely be possible to write poems about the snow disappears? Into the dyptiden. The moderate and preliminary conclusion to the survey must be that the climate literature is both possible and existing-even if one could wish that it had a more central place in the broad, literature online public conversation. And there, one can well imagine that the get. Audun Lindholm, editor for the magazine Vagant, points out that especially in the younger Norwegian poetry is the willingness to think in perspectives that exceed the simple man's time-and location-bound unit, i.e. perspectives that seem especially suitable for literary treatment of the climate crisis, which is global in its scope, affecting all of the Earth's species, and unfolding over centuries. Lindholm mention as examples Maria Dorothea Schrattenholz ' Atlas point (2015), where humanity migrating to Mars, and Joanna Rzadkowskas Replay forced (2012), an evolutionary fantasy about mutant people.
– Det gjelder å være elastisk i sine forestillinger om hva slags litteratur som kan være nyttig i klimadebatten, sier Lindholm, som trekker inn evolusjonsbiologien når han beskriver den unge poesien. – Noen evolusjonsbiologer er opptatt av begrepsparet «inngruppe» og «utgruppe». «Inngruppen» er de som ligner deg selv og beinner seg i din umiddelbare nærhet. Vi føler sympati kun med inngruppen, sies det. Men for å takle klimakrisen må vi lære oss å tenke også på utgruppen – altså de som er langt unna eller ikke ligner på oss selv, ja, kanskje ennå ikke er født. Litteratur kan utvide vår følelse av samhørighet og ansvar.
- It comes to be elastic in their notions of what kind of literature which can be useful in the climate debate, "said Lindholm, which draws in evolutionary biology when he describes the young poetry. -Some evolutionary biologists are concerned with the conceptual pair "inngruppe" and "utgruppe". "Inngruppen" are the ones that are similar to yourself and your immediate beinner in the vicinity. We feel sympathy only with inngruppen, it is said, but to tackle the climate crisis, we need to teach us to think also on utgruppen-the that is far away or not is similar to ourselves, Yes, perhaps not yet born. Literature can expand our sense of cohesion and responsibility.
--------------
– Når såpass mange yngre forfattere ikke skriver med familien eller nasjonen eller engang menneskeheten som inngruppe, tyder det på at følelsen av ansvar og samhørighet er i endring. Den unge litteraturens evolusjonsfantasier er et uttrykk for at omsorgen vokser til å favne også andre vesener, og for at klodens tilstand gjør at vi interesserer oss mer og mer for utviklingslinjer som strekker seg utover det enkelte menneskelivet, inn i dyptiden.
-When so many younger writers do not write with the family or nation or even humanity as inngruppe, it suggests that the sense of responsibility and cohesion is changing.
The young literary evolution is an expression of the fantasies that the care grows to embrace also other beings, and that the planet's condition allows us interests us more and more for developing lines that extend beyond the individual human life, into the dyptiden.
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