03 March 2023
On until 18 March, the exhibition Editorial Tables: Reciprocal Hospitalities at The Showroom brings together publishers, artists, and curators with an interest in ‘independent, experimental and artist-led publishing, with a focus on intersecting feminist and decolonial perspectives’. We were glad to receive the back catalogue of one of the featured publishers, Rab-Rab Press, based in Helsinki and founded by Sezgin Boynik.
Rab-Rab: journal of political and formal inquiries in art, Issue 01 (2014). Awaiting shelfmark.
Rab-Rab Press publishes Rab-Rab: journal of political and formal inquiries in art, which is a platform for politically charged interventions in an art world that has surrendered to its ‘ideological blindness’, to the dominant language of ‘liberal capitalist paranoia’. The journal itself and the range of books published by Rab-Rab are seen as part of a “writerly” art practice that, according to the first issue’s opening article by John Roberts, stemmed from Conceptual art’s dismissal of the ‘intellectual division of labour’, the strict separation of the work of the art practitioner and the art critic.
Reprint of E. P. Thompson’s, The Railway: An Adventure in Construction (Helsinki, 2020). Awaiting shelfmark.
Rab-Rab Press is also engaged in publishing, and often translating for the first time, out-of-print forgotten works. Twentieth century and contemporary political thought from across Europe finds a home at Rab-Rab, from the work of Slovenian sociologist Rastko Močnik to two lectures by the Polish-Georgian avant-gardist Ilia Zdanevich. There is a reprint of E. P. Thompson’s, The Railway: An Adventure in Construction, on the international labour brigades in Yugoslavia, and most recently a translation of the increasingly influential artist and thinker Karel Teige’s Jarmark umění, The Marketplace of Art.
Karel Teige’s Jarmark umění, The Marketplace of Art (Helsinki, 2022). Awaiting shelfmark.
Lastly, Rab-Rab’s focus also turns to surprising cultural political moments, whether that is the Archie Shepp-Bill Dixon Quartet playing the 8th World Festival of Youth and Students in Helsinki 1962 (Free Jazz Communism), Mao Zedong’s last meeting with the Red Guards in 1968 (The Conclusive Scene), or the release of London-based Practical Music’s LP, Albanian Summer: An Entertainment, in 1984 (From Scratch: Albanian Summer Picaresque).
With such an eclectic range of publications bringing lost writing and moments to light, we look forward to what Rab-Rab Press takes on next. In the meantime, there is still a chance to catch the exhibition.
Pardaad Chamsaz, Curator Germanic collections
30 December 2022
C is for Czechoslovak Independence Day, which marks the foundation of the independent Czechoslovak State in 1918.
D is for Digitisation, including the 3D digitisation of Marinetti’s Tin Book.
E is for Annie Ernaux, who was awarded the Nobel Prize in Literature in October.
Examples of Fraktur letter-forms from Wolfgang Fugger, Ein nützlich und wolgegründt Formular manncherley schöner Schriefften ... (Nuremberg, 1533) C.142.cc.12.
F is for Festive Traditions, from songs to fortune telling.
G is for Guest bloggers, whose contributions we love to receive!
H is for Hryhorii Skovoroda, the Ukrainian philosopher and poet whose anniversary we marked in December.
I is for our series on Iceland and the Library’s Icelandic collections.
J is for Jubilees.
Abetka (Kyïv, 2005). YF.2010.a.18369.
K is for Knowledge systems and the work of Snowchange Cooperative, a Finnish environmental organisation devoted to protecting and restoring the boreal forests and ecosystems through ‘the advancement of indigenous traditions and culture’.
L is for Limburgish, spoken in the South of the Netherlands.
M is for Mystery – some bibliographical sleuthing.
N is for Nordic acquisitions, from Finnish avant-garde poetry to Swedish art books.
O is for Online resources from East View, which are now available remotely.
Giovanni Bodoni and Giovanni Mardersteig, Manuale tipografico, 1788. Facsimile a cura di Giovanni Mardersteig. (Verona, 1968) L.R.413.h.17.
Q is for Quebec with a guest appearance by the Americas blog featuring the work of retired French collections curator Des McTernan.
R is for Rare editions of Ukrainian poet Taras Shevchenko’s Kobzar.
T is for Translation and our regular posts to mark Women in Translation Month.
Alphabet Anglois, contenant la prononciation des lettres avec les declinaisons et conjugaisons (Rouen, 1639). Digital Store 1568/3641.(1.)
V is for Victory – a contemporary Italian newspaper report of the Battle of Trafalgar.
W is for Richard Wagner who wrote about a fictional meeting with Beethoven.
X is for... (no, we couldn’t think of anything either!)
Y is for You, our readers. Thank you for following us!
Z is for our former colleague Zuzanna, whom we remembered in February.
Azbuka ōt knigi osmochastnye̡, sirěchʹ grammatikii (Lviv, 1574). Digital Store 1568/3641.(1.)
26 October 2022
The Nordic Pavilion at this year’s Venice Biennale has been transformed for the first time into ‘The Sámi Pavilion’. Three Sámi artists, with the guidance of Sámi elders, have created works that ‘celebrate the art and sovereignty of the Indigenous Sámi People’. One of the chosen artists, Pauliina Feodoroff, a ‘Skolt Sámi theatre director, artist and land guardian from Keväjäu’rr (Finland) and Suõ’nnjel (Russia)’, works with Snowchange Cooperative, a Finnish environmental organisation devoted to protecting and restoring the boreal forests and ecosystems through ‘the advancement of indigenous traditions and culture’. Honoured with the 2021 St Andrews Prize for the Environment, Snowchange, led by its President and leading climate scientist Tero Mustonen, have a long list of publications, most of which have recently been acquired by the Library.
As the Climate Emergency creeps up the priority list of governments, often reticent to disturb centuries-long systems of global extraction, indigenous and traditional communities at geographical extremes have been experiencing its devastating effects for decades. For hundreds of years, colonising economic powers have exploited the natural resources of the Arctic. That dispossession depended culturally on the imposition of new knowledge systems and languages that would normalise the exploitative relationship to the land. It is ironic and necessary that we now rely on ancient indigenous wisdom to re(dis)cover nature’s balance, beauty, wildness, in order to survive. Snowchange’s work tells us that by protecting the lands of Sápmi, we protect the Sámi peoples, and vice versa. In Pauliina Feodoroff’s words:
Sámi knowledge is knowledge about how to be with your environment, how to have your relationships with humans and with the world. Therefore, the most effective ways of controlling a people involve destroying the things that compromise the reality of that people. In the North this ancient knowledge has been beaten and destroyed for centuries in order to make the Indigenous peoples forget this knowledge. If there is nothing else to do to stop this, at least we can try to prolong things. To buy us a bit more time to survive. We can try to gather traditional knowledge from the elders who are still holding onto it. We can try to create safe havens of ecosystems, which can contain our knowledges – the fjells, forests, and lakes which remain in pristine condition. (The Eastern Sámi Atlas)
Cover of The Eastern Sámi Atlas (Awaiting Shelfmark)
Snowchange’s list of publications, many of which are available to read online, comprise not only scientific reports but also personal histories of significant community figures, hunters and fishermen, as well as novels and poems. This eclectic mix reflects the core idea that the environment, thought broadly, can only be changed by bringing together Western science and traditional knowledge, empirical research and storytelling, the intimately personal, the cosmic and the global.
The monumental Eastern Sámi Atlas ‘provides a clear view of the histories, land use and occupancy’ of the perhaps lesser-researched communities in the Kola Peninsula, speakers of Skolt, Kildin, Ter, and, before their recent extinction, Kemi and Akkala Sámi languages. It contains over 60 maps, unique artwork and photography, poems, songs, and chapters outlining the history, geopolitics and environmental developments in the region.
On the ground, Snowchange is involved in major restoration projects such as the Landscape Rewilding Programme, stretching over 52,000 hectares of which Snowchange owns 3100 hectares in five different areas across Finland, with its flagship site in Linnunsuo, North Karelia. Or, up in the Skolt Sámi area, the Näätämö River collaborative management project is described as the first of its kind in Finland, centring indigenous observations on biodiversity in the river basin to develop new models to protect a major Atlantic Salmon spawning site.
Covers of (above) Drowning Reindeer, Drowning Homes and (below) Kotoperäinen maailma. Kuivasjärven ympäristöhistoriaa, an environmental history of Kuivasjärvi Lake in the Pirkanmaa region (both awaiting shelfmarks).
While the organisation regularly updates through scientific reports available online, the research often leads to longer form publications, such as the Atlas mentioned above and the significant Life in the Cyclic World: A Compendium of Traditional Knowledge from the Eurasian North. In the latter, Tero and Kaisu Mustonen ground the two-volume collection of Indigenous observations and perspectives on biodiversity in ‘an attempt for a dialogue, a meeting, perhaps an encounter between the knowledge systems’. In acquiring and promoting these books, we hope the library is doing its small part in surfacing traditional knowledge and joining the conversation.
Indeed, while we have to accept that ‘Indigenous societies of the Arctic feel their viewpoints and understanding of their worlds and cultures has not happened’ when it comes to a matter of ‘decisions regarding the North’, cultural organisations in Northern Europe and beyond are recently engaging in more and more projects that bring to the fore the heritage of Europe’s only Indigenous population. Sámi literature was a focus of the Frankfurt Book Fair in 2019, when Norway was guest of honour. The British Museum’s exhibition Arctic: Culture and Climate worked closely in collaboration with Arctic communities. And, most relevant to the Library perhaps, the Digital Access to Sámi Heritage Archives project seeks to locate and make available Sámi cultural heritage in archives and collections across Europe on their upcoming platform, Nuohtti.
Cover of It is the Sámi who own this Land (Awaiting Shelfmark)
Inspired by such projects, we have begun the process of assessing the library’s own Sámi items, identifying our own potential contributions to Nuohtti, and thereby furthering that dialogue between cultural worlds. But that’s the subject of another post. For now, we thank Snowchange for sharing with us their publications and their knowledge, as only when we try to understand those different cultural worlds, can we start to live justly in the world we share.
We were delighted to hear from Tero Mustonen, chair of Snowchange Cooperative, who wanted to comment on this collaboration:
Whilst initially being pleasantly surprised by the contact from the British Library, we responded swiftly to the exchange and deep understanding the Curators saw in our work. Now all publications by the knowledge holders, scientists, reindeer herders, Indigenous women, fishers and Elders are in the esteemed British Library. Acts of kindness, learning and cultural dialogue can only be achieved by individuals who offer the first gesture. This has now happened. We thank the Library and especially Pardaad Chamsaz for being the guiding light in creating a connection between small northern villages and the Library. For these efforts we will dedicate a recovering boreal peatland – a central site in the fight against climate change and maintenance of northern biodiversity – to the British Library in the spring 2023 to mark the dialogue, mark the courage and ultimately, mark the understanding across cultures that the world needs. In this way, this will be remembered and there will be a physical, natural symbol of this act. We thank the Library.
Pardaad Chamsaz, Curator Germanic Collections
An area of boreal peatland restored by Snowchange (photo: Tero Mustonen)
15 March 2022
Many of us would have taken part in the RSPB’s Big Garden Birdwatch, the much-loved annual mass participation birdwatch at the end of January. At the Library, we were delighted to catch a rare sighting ourselves. Colleagues in our Collection Audit team rediscovered a volume of collected booklets of bird illustrations, shelf-marked but hitherto unavailable in the catalogue. Magnus and Wilhelm von Wright’s Svenska foglar (Stockholm, 1828-38; 74/781.k.31) is one of the finest examples of bird illustration in a long history of Scandinavian ornithological literature.
A great tit by Wilhelm von Wright
The brothers Magnus, Wilhelm and Ferdinand von Wright were pioneers of Finnish painting, who early on developed a passion for depicting birds on their hunting trips with their father Henrik Magnus von Wright. While Magnus would go on to develop a reputation as a landscape painter as well, the brothers are well known for their work on birdlife in service of both art and science. Having moved to Stockholm to begin his artistic training, Magnus was given the opportunity by Count Nils Bonde, the master of Hörningsholm manor on the island of Mörkö, to illustrate an ambitious work on Swedish birds, Svenska foglar. Efter naturen och på sten ritade af M. och W. von Wright. So overwhelming was the commission, Magnus brought in the help of his brother Wilhelm, and by the end of the project, Ferdinand, who later painted the iconic The Fighting Capercaillies, would also be involved, despite his young age. Svenska foglar became a hugely popular series.
A song thrush drawn by Magnus and lithographed by Wilhelm von Wright
Between 1828 and 1838, 30 booklets were published, each containing up to six plates of hand-coloured lithograph birds, with 137 species represented across the 186 birds. In the early 19th century, one of the ways to catch a good enough look at a bird was to shoot it, a skill the von Wright brothers regularly deployed, as well as buying specimens and studying others in the natural science museums in Helsinki, St Petersburg and Stockholm (Lehtola, Lokki and Stjernberg).
Wilhelm would go on to concentrate his artistic efforts on scientific illustration, taking on another commission from Count Bonde to illustrate a guide to butterflies, Svenska fjäriler, before eventually undertaking his greatest achievement, Skandianviens fiskar (Scandinavian Fish), with Bengt Fries, also in the library (BL 727.l.26.).
The brothers made substantial contributions to zoology beyond offering these precise and captivating illustrations. They travelled extensively, making trips to the far North to places such as Tromsø in the Norwegian Arctic and Aavasaksa in Finnish Lapland, where they kept journals and made drawings that furthered ornithological knowledge. They were at the heart of what Björn Dal has called the Swedish ‘Zoological Golden Age’. Of course, the von Wrights, while figuring prominently in Swedish zoology, were Finnish, and Magnus’s unfinished work on his homeland’s avifauna was issued posthumously as Finlands foglar in 1873 (BL Ac.1094.4.).
A Eurasian Jay from Olof Rudbeck’s Book of Birds
The brothers entered the ornithological picture when the discipline was burgeoning, a few decades after Linnaeus had pioneered zoological nomenclature and at a time when global exploration proliferated knowledge, interest and possession of the natural world. This handy list of Swedish bird books is comprehensive, locating the first mention of birds in Olaus Magnus’ Historia de gentibus septentrionalibus, the classic work on the history and culture of Scandinavia originally published in Rome in 1555 (152.e.9 and two other copies). Illustrated copiously with woodcuts, it contains plenty of insights into our relationship with birds, including a not-so-faithful image of two men hauling a net full of swallows out of a muddy lake.
The next major contribution we might mention is Olof Rudbeck the Younger’s bird book, a set of astonishing illustrations that some say were unrivalled until the age of Audubon. Rudbeck’s work helped him deliver lectures on ornithology and his images and classifications form the basis of some of the species listed in the tenth edition of Linnaeus’s Systema Naturae (956.e.6.7), the accepted starting point of zoological nomenclature. Rudbeck was Linnaeus’s mentor and patron. The watercolour birds, which were the artistic work of Rudbeck himself, Andreas Holtzbom and potentially others, were accomplished around 1693-1710 but were not published until 1985, with a monumental English edition appearing in 1986 (HS.74/99). The editor’s introduction suggests that had the planned book materialised in its own time, then ‘eighteenth century ornithology, at least as far as Sweden is concerned, would have received an impetus towards unprecedented achievements.’
A golden eagle from Wilhelm von Wright
One of Linnaeus’s disciples, Anders Sparrman, would produce the ‘earliest monumental pictorial work on ornithology published in the North’ (Anker), known as the Museum Carlsonianum (Stockholm, 1786-89; 32.g.8), a bird book based on the collection of Johan Gustav von Carlson. It is the first large illustrated work to use the Linnaean naming system and the birds are from around the world, making it of significant scientific interest. Some of these plates, the work of Jonas Carl Linnerhielm, would make it into Sparrman’s subsequent ambitious compilation Svensk Ornitologi (1806), published the same year as another important work, Johan Wilhelm Palmstruch’s Svensk Zoologi (Stockholm, 1806; 454.b.20.).
With vast pictorial works on birds and fauna abounding across Europe and America in the early 19th century, Sweden was no different. Soon the von Wrights’ booklets would appear followed two decades later by Carl Sundevall’s impressive Svenska foglarna (Stockholm, 1856-1886; Cup.1256.aa.18) with illustrations by Peter Åkerlund and Paulina Sjöholm. Sweden’s contribution to zoology and botany in the 18th and 19th centuries is often confined to the (albeit immense) influence of Carl Linnaeus and his disciples. However, through its ornithologist-artists, whose work is distributed in a host of epic illustrated bird books, we get a sense of its wider contribution to our understanding of birds, not least through the plates of the von Wright brothers.
Pardaad Chamsaz, Curator Germanic collections
Björn Dal, Sveriges zoologiska litteratur : en berättande översikt om svenska zoologer och deras tryckta verk 1483-1920 (Kjuge, 1996), YA.2003.b.2445
Erkki Anttonen and Anne-Maria Pennonen, The von Wright Brothers: Art, Science and Life (Helsinki 2017), YD.2018.b.404
Anto Leikola, Juhani Lokki and Torsten Stjernberg, ‘The von Wright brothers and bird research’, in Anttonen and Pennonen (above)
Olof Rudbeck, Olof Rudbeck’s Book of Birds: A Facsimile of the Original Watercolours [c.1693-1710] of Olof Rudbeck the Younger in the Leufsta Collection in Uppsala University Library (Stockholm, 1986)
Jean Anker, Bird Books and Bird Art: An Outline of the Literary history and Iconography of descriptive Ornithology (Copenhagen, 1938), LR.106.a.8
Claus Nissen, Die illustrierten Vogelbücher: ihre Geschichte und Bibliographie (Stuttgart, 1953), 2731.y.1
04 January 2022
In European Collections, where we focus on printed books post-1850, many of our acquisitions come through regular contracted suppliers. These suppliers are equipped to provide the breadth of publications the Library needs to stay relevant as an international research organisation. Occasionally, however, we acquire by different means, perhaps when the publication is more niche, or second-hand, or when we have a connection to a publisher or author, amongst other reasons. As we enter a new year, I wanted to reflect briefly on the quirkier material that has entered the BL’s Nordic collections in just such ways in 2021.
Valtatiet (‘Highways’) is an early example of the Finnish avant-garde, an illustrated poetry collaboration between Mika Waltari, Olavi Lauri Paavolainen and the artist Sylvi Kunnas, who provided its striking front cover.
Cover of Valtatiet (1928) by Sylvi Kunnas, awaiting shelfmark
Waltari and Paavolainen were prominent members of the Tulenkantajat (‘Torch Bearers’) group of artists and writers, who introduced the trending movements of European modernism to Finland. Valtatiet was itself inspired by Filippo Marinetti’s Futurism in its manifesto-like poetry of ‘machine romanticism’ (Kaunonen), while Kunnas’s cover certainly betrays an interest in Cubist style. Both poets increasingly became more politically engaged, despite their early preference for the aesthetics and experience of modernity and modern life, and both visited Nazi Germany in the 1930s, with Paavolainen producing perhaps his most famous work as a result, Kolmannen Valtakunnan vieraana (‘Guest of the Third Reich’, 1936). This acquisition complements an extensive European avant-garde collection at the Library and importantly expands it to incorporate an example of its unique Finnish expression.
Illustration by Sylvi Kunnas accompanying the poems entitled ‘Credo’ by Olavi Lauri Paavolainen
Our Finnish collections also recently welcomed a much more contemporary literary work, Fun Primavera by Elsa Tölli, which we kindly received directly from the author. Elsa won this year’s Tanvissa karhu (‘Dancing bear’) prize for poetry, the first time it has gone to a self-published work. Thrilled to be asked for a copy by the Library, Elsa sent us a beautiful note along with the book, which she described as her “wild and extravagant poetry explosion”. Thank you, Elsa! And for those of us still needing to hone our Finnish, an English translation by Kasper Salonen is available.
From Fun Primavera by Elsa Tölli (awaiting shelfmark)
Reaching out to creators has been an interesting way to learn about contemporary publishing in the region. I came across the work of Johannes Samuelsson through conversations around Swedish art books and projects centred on social action. Samuelsson, an artist and photographer, has developed an art practice that is directly concerned with uplifting his community in Umeå, making books that document but also form part of that social action. Johannes generously sent his work to the Library and I was particularly struck by the book Skäliga anspråk på prydlighet: En bok om kampen för en korvvagn (‘Reasonable claims for neatness: A book on the fight for a hot dog stall’).
Cover of Johannes Samuelsson’s Skäliga anspråk på prydlighet, featuring hot dog stall owner, Helmer Holm
When the Umeå authorities introduced new regulations for the design of hot dog stalls, Helmer Holm fought to retain his stall, which contravened the new rules. Samuelsson documents what he calls the “hot dog war”, amplifying Holm’s campaign, which was eventually successful, and the project is brought to life in the photobook. Attempting to represent the cultural life of the Nordic region, our collections need to be broad and relevant, identifying projects that also speak to universal issues and therefore that cut across the Library’s collections. With this Swedish perspective on local activism, on gentrification of common urban space, on art as social practice, we are hopefully adding richness to collections that interrogate similar ideas.
Cover of Art of Welfare, (Oslo, 2006) YD.2021.a.1210
We are always keen to incorporate independent publishing and smaller presses, especially where the publications complement the collections we already hold and the themes central to them. Art publishing tends to be produced with an international market in mind, with many books from the Nordic region appearing in English. After acquiring the Office for Contemporary Art Norway’s recent trilogy of new Indigenous writing, following a survey of contemporary publishing related to Sámi culture, we were fortunate to receive all outstanding issues of the publisher’s Verkstad series from them directly. Exhibition catalogues are often the place for leading thinkers to be creative, and there are unique essays throughout this series. Take, for example, Art of Welfare, produced for Elmgreen & Dragset's exhibition, ‘The Welfare Show’ – initially produced by Bergen Kunsthall, – at the Serpentine Gallery in London in January 2006.
As we constantly shape our collections to reflect the worlds they represent, working with authors, artists and independent publishers is an indispensable way to get at the heart of these cultural landscapes and to broaden the perspective of our own. We hope to continue to supplement our Nordic collections in this way, developing this unofficial “acquisitions through conversations” approach.
Pardaad Chamsaz, Curator Germanic Collections
Leena Kaunonen, ‘Avant-Garde Moments in Nykyaikaa etsimassa by Olavi Paavolainen’, in A Cultural History of the Avant–Garde in the Nordic Countries 1925–1950 (Leiden, 2019) Avant-garde critical studies; 36. pp. 746-760. 1837.116580
08 November 2021
Naturally, we tend to focus on the Anglosphere legacies of English-language literary classics, but when it comes to fantasy fiction, like the works of Lewis Carroll and J. R. R. Tolkien, their international reception and illustrated editions are very much part of the phenomena. The worlds evoked transcend age- and language-barriers, with illustrations often inflected by specific geographical, cultural and historical contexts, given the genre’s endless capacity for reinterpretation.
Covers of new acquisitions of works illustrated by Tove Jansson
The Library has recently acquired a number of books illustrated by the genius that was Tove Jansson - the Finnish-Swedish creator of the Moomins, and also ‘novelist, short-story-writer, memoirist, painter, illustrator and cartoonist’, as the volume Tove Jansson Rediscovered importantly underlines. These acquisitions include translations of Lewis Carroll’s The Hunting of the Snark, Alice in Wonderland, and Tolkien’s The Hobbit, as well as a 1946 issue of the short-lived journal Litteratur, Konst, Teater.
Image accompanying Roger Richard’s poem ‘The Sleeping Woman’ / Den sovande kvinnan in Litteratur, Konst, Teater 1946, RF.2021.a.10
Jansson’s work never departs from view for too long in the UK’s cultural events landscape, as evidenced by the recent exhibition and walking trail at Walthamstow Wetlands and The William Morris Gallery, or by the big-budget Moomins animation, or the 2017-18 Jansson retrospective at Dulwich Picture Gallery. This goes alongside the stream of reissues, biographies, edited scholarly volumes and translations, including Letters from Tove and Tove Jansson: life, art, words: the authorised biography, both translations published by Sort Of Books in the last decade. Unattributed quotations in this blog are taken from the latter.
Tove Jansson’s illustration for the cover of Solveig von Schoultz’s Nalleresan (Teddy Bears’ Journey), originally 1944, here the 2007 facsimile reprint, YF.2008.a.5876
While Jansson illustrated a dozen or so books early in her career, she would devote most of her illustrative output to her own iconic creation. That is, apart from when the opportunities to illustrate Carrol and later Tolkien were presented to her. Unable to resist collaborating with publisher and translator, Åke Runnquist, and co-translator, Lars Forsell, on a book of ‘pure modern nonsense verse’, Jansson accepted the commission for The Hunting of the Snark (Snarkjakten) in 1958 and it was published a year later.
Jansson’s illustrations for the sections, ‘The Hunt’ (‘Jakten’) and ‘The Beaver’s Lesson’ (‘Bäverns läxa’) from Snarkjakten, RF.2021.a.7
While it wasn’t reprinted, the publishers deemed the collaboration a success, with the illustrations considered of the ‘highest class’. Jansson had not seen the original illustrations by Henry Holiday and their respective styles could not be more different, evident in their interpretations of ‘The Landing’ (‘Landstigningen’), the first “fit”, or part of the poem (rendered frossbrytning in the Swedish, almost a fit of shivering, or chill).
Henry Holiday’s original illustration (above) and Tove Jansson’s (below) of ‘The Landing’
Jansson depicted a cast of large-eyed, long-snouted moominesque figures in contrast to Holiday’s caricatured, large-headed humans, both bringing the absurd to life in their own ways.
The year after the publication of Snarkjakten, Jansson received a letter from the author of Pippi Longstocking, Astrid Lindgren, who aimed to entice her fellow author to illustrate a new Swedish translation of Tolkien’s The Hobbit (Bilbo: En Hobbits Åventyr, RF.2021.a.8). Much has been written on Jansson’s illustrations by Tolkien fans and much of it critical of her inventive departure from the author’s descriptions. For Jansson, it was a chance to move away from the Moomin figures, while building on affinities between her own world and Tolkien’s landscape, what she describes as ‘Forests of living horror, coal-black rivers, moonlit moors with fiery wolves – a whole world of catastrophe […]’.
Bilbo surveys the Misty Mountains
Indeed, Tove’s hopes to capture the dark immensity of Tolkien’s world were slightly clipped by Lindgren and the publishers, as they wanted it to be situated firmly within children’s literature and for it to make Bilbo more prominent and therefore less awed by his environment. The world of catastrophe had to be seen as navigable to the book’s young readers.
Gollum according to Tove Jansson
One particular bone of contention for Tolkien fans is the depiction of Gollum, who is nothing like the later film’s rendering. Jansson shows us a friendlier, perhaps more human figure, twice the size of the Gollum we can all picture. All in all, as Westin puts it, many readers ‘saw Jansson, where they would have preferred Tolkien’. The book was no success by any objective measure and only one edition appeared.
Bear vignette from The Hobbit
Whatever superfans make of the fidelity of the illustrations, they are undoubtedly fine achievements, down to the small vignettes used to head chapters, figures which Jansson drew iteratively ’20, 40, 60 times till it looked fairly free’ and then glued them together, giving them a real dynamism.
Alice down the Rabbit-Hole
The lack of reception for her Hobbit illustrations might have stunted the desire to collaborate on works that were not her own. Jansson was however drawn back to Carroll in 1965, this time Runnquist’s translation of Alice in Wonderland (Alice I Underlandet, RF.2021.a.9), Carroll’s original manuscript of which we hold here at the BL. Like what she found compelling in Tolkien, Jansson read Alice as a ‘horror’, telling Runnquist, ‘the story is terrifying and can in no way be seen as an idyll, but it causes shivers of pleasure’. The translator however could not agree and sought something altogether more pleasant.
Alice, cat and bats in the tall grass
The horror is still there in Jansson’s illustrations, in the uncanny, magnified or magnifying underworld, as the artist gives pictorial life to Carroll’s inherently uneasy and confounding fantasy. Jansson’s use of colour, often rendered quite light on the page, makes them almost dreamlike.
Alice encounters a blue caterpillar on a mushroom
Runnquist hailed the work as a masterpiece. As Mikiko Chimiori writes, Jansson captures the ‘the transitional period between childhood and adolescence’, often proving ‘even more imaginative and fantastic than the original’. To understand that comment, we should bear in mind that the ‘original’ was illustrated by Carroll himself, with engravings by John Tenniel for the published first edition, illustrations which Jansson herself thought definitive.
The Mock-Turtle’s Story
Tove Jansson was a prolific and multitalented writer and artist rightly best known for her Moomins but quickly becoming so much more than that in our cultural landscape, such is the richness and continued relevance of her oeuvre.
Pardaad Chamsaz, Curator Germanic Collections
Tove Jansson, Letters from Tove, edited by Boel Westin and Helen Svensson, translated by Sarah Death, 2019, ELD.DS.463620
Boel Westin, Tove Jansson: life, art, words: the authorised biography, translated by Silvester Mazzarella, 2018, YK.2018.a.7552
Wayne G. Hammond & Christina Scull, The art of the Hobbit by J.R.R. Tolkien (London, 2011), LC.31.a.13046
Mikiko Chimori, ‘Tove Jansson’s Alice Illustrations’, in Tove Jansson Rediscovered, ed. by Kate McLoughlin and Malin Lindström Brock (Cambridge, 2007), m08/.23195
25 June 2021
With Euro 2020 in full swing, we've come up with a few football-related titles from the collections. First up, the Nordic teams and Germany...
There were initially three teams represented in the Euros from the Nordic region, Denmark, Finland and Sweden (only Denmark and Sweden have made it through to the last-16). Denmark’s game with Finland was marred by Christian Eriksen’s awful cardiac arrest and the Nordic teams – and every other team – have continued to show their support for his recovery above anything else.
A few avenues for Nordic football exploration… Of course, Denmark won the 1992 Euros courtesy of the disputably greatest ever Nordic footballer, Michael Laudrup. That championship-winning experience was made into the film Sommeren ’92. You can read about the legendary but alas trophy-less Danish team of the mid-eighties, the pre-Laudrup era, in Rob Smyth’s Danish dynamite: the story of football's greatest cult team.
Cover of Rob Smyth’s Danish dynamite: the story of football's greatest cult team (London; New York, 2014) ELD.DS.73176
Running Laudrup close in the GOAT-stakes has to be Zlatan Ibrahimović, who’s known universally by his forename alone and for his highly entertaining talent for self-promotion, hence the recent book I am Football (YKL.2019.b.3638). Readers would be wise to go to Zlatan’s autobiography I am Zlatan Ibrahimović (ELD.DS.185859), which gives insight into the challenging upbringing of a second-generation migrant in Malmö. Zlatan unfortunately cannot play this tournament but his understudy, Alexander Isak, raised the literary stakes when he recently revealed a love of reading stoic philosophy, which surely rubbed off on the team in their first gritty outing against Spain.
Zlatan’s autobiography I am Zlatan Ibrahimović translated by Ruth Urbom (London, 2013) ELD.DS.185859
The biggest surprise had to be Finland’s first-time qualification for the Euros. They no doubt channelled their famous pessimism to manage their expectations at the tournament, as The Guardian’s run-down of potential exclamations from Finnish fans implies: “Hävittiin kenelle pitikin”, meaning “We lost against a team we expected to lose against”. Literature around Finnish football is a little harder to come by at the library. Manager Markku Kanerva did however win the annual “Markku of the Year” award in 2009 and the BL is a lot stronger in collections by other worthy Markkus, if environmental economics is your thing.
Pardaad Chamsaz, Curator Germanic Collections
Masthead of Jedermann sein eigener Fussball: illustrierte Halbmonatsschrift No. 1, 15 February 1919 (the only issue published) P.P.4736.hmd.
Apparently football-related titles in German literature may not always be what they seem. The short-lived magazine Jedermann sein eigenes Fussball (‘Every man his own football’) has nothing to do with the beautiful game. Its surreal title and accompanying vignette of a human-football hybrid are expressions of the Dada movement of the early 20th century. Likewise Peter Handke’s short novel Der Angst des Tormanns vor dem Elfmeter (The Goalie’s Anxiety at the Penalty Kick) relates only tangentially to football. The protagonist is a former goalkeeper, but this has little bearing on the story, and the title is a briefly-referenced metaphor for the way he reacts to events rather than initiating them.
Cover of Karl Riha (ed.), Fussball literarisch, oder, Der Ball spielt mit dem Menschen: Erzählungen, Texte, Gedichte, Lieder, Bilder (Frankfurt am Main, 1982) X.958/16256
However, Handke’s short poem ‘Die Aufstellung des 1. FC Nürnberg vom 27.1.1968’ is firmly football focused, consisting entirely of the eponymous line-up (in 5-3-2 formation) of FC Nürnberg for a game against Bayer Leverkusen. This is one of the pieces collected in the anthology Fussball literarisch, which brings together poems, songs, stories, playlets and pictures. Most of the authors are clearly fans, and some, such as Eckhard Henscheid, Ror Wolf and Ludwig Harig, are or were well known for their love of the game and their writing about it. Henschied is a member of Germany’s ‘Academy for Football Culture’, a body that encourages the recognition of football as a ‘cultural and social phenomenon’. This shows how seriously the Germans take their football, as does the existence of their National Writers’ Team, whose members have produced two other footballing anthologies, Titelkampf and Fußball ist unser Lieben.
Susan Reed, Lead Curator Germanic Collections
Peter Handke, Der Angst des Tormanns vor dem Elfmeter (Frankfurt am Main, 1970) X.907/11653. English translation by Michael Roloff, The Goalie’s Anxiety at the Penalty Kick (London, 1977) Nov.34737
Titelkampf: Fussballgeschichten der deutschen Autorennationalmannschaft, herausgegeben von Ralf Bönt, Albert Ostermaier und Moritz Rinke (Frankfurt am Main, 2008) YF.2009.a.21279
Fussball ist unser Lieben: neue Geschichten der deutschen Autorennationalmannschaft, herausgegeben von Norbert Kron, Albert Ostermaier und Klaus Cäsar Zehrer (Frankfurt am Main, 2011) YF.2011.a.13451
More European Studies blog posts about Euro 2020:
23 June 2020
This post is part of our 'Inheritance Books' series, where colleagues choose an 'inherited' item that was already in the library when we started working here, and one that we have acquired or catalogued for our collections during our own time to 'pass on' to future users, visitors and colleagues, and explain why they're important to us. This week, Pardaad Chamsaz, responsible for the Nordic collections, shares his selections.
It’s coming up to three years that I’ve been responsible for the Nordic collections and I learned early on that, while most of what we inherit comes with an explanation, there will always be something unexpected. For me, it was the unmarked acid-free envelopes in the secure cupboard. After finally getting round to an audit, I discovered tied together a set of 18th-century Swedish official orders and privileges. Two of these concerned Sweden’s colonial activity in the Caribbean, something I had not really considered before but was now inspired to dig into further. Sweden’s acquisition of the island of St Barthélemy from France in 1784 featured prominently. The most interesting of these pamphlets was the notification ‘Til hämmande af obetänkte utflyttningar til Ön St Barthelemy’ of 2 May 1786. It effectively rows back on the previous year’s efforts to encourage Swedish traders to travel to the island due to unsustainable living conditions and the harsh uncultivated land, telling aspiring travellers to stay put and think about working the Fatherland. In this brief order we can almost read the whole story of Sweden’s colonizing efforts.
Notification discouraging travel to the Caribbean. Awaiting shelfmark.
One thing I’m happy my successors will inherit is a healthy collection of contemporary Nordic comics and graphic novels. After a conversation with the Finnish comics association and artist collective Kuti Kuti, they kindly agreed to send over their back catalogue of comics.
Kuti Kuti issues, ZF.9.d.403
As a result, we started thinking about doing more work around Nordic comics, culminating in the Nordic Comics Today events. One of the artists who joined us, Kaisa Leka, donated an exquisite copy of her and Christoffer Leka’s Time after Time, which I am very happy to be able to hand down to whoever comes after me!
Time after Time. Awaiting shelfmark.
03 March 2020
On 13 March, the British Library are hosting two events under the banner of Nordic Comics Today. In the afternoon, we will welcome Kaisa Leka and Karoline Stjernfelt to showcase their work. Kaisa will speak about the life of a disabled woman in the world today, and how comic art responds to disability, while Karoline transports us to the 18th-century Danish royal court through her prize-winning graphic history I Morgen Bliver Bedre (‘Tomorrow will be better’). The event will be introduced by Dr Nina Mickwitz from the University of the Arts, who’ll ground us in contemporary comics cultures in the Nordic region.
‘Votes for Women’ from Marta Breen and Jenny Jordahl, Women in Battle: 150 Years of Fighting for Freedom, Equality and Sisterhood (London, 2018) ELD.DS.339036
In the evening we turn to feminism and welcome best-selling author Marta Breen to talk about Women in Battle, the story of fearless females in the continuing journey towards rights for women today (created in collaboration with illustrator Jenny Jordahl and translated into English by Sian Mackie). Marta will be in conversation with Kaisa Leka and UK Comics Laureate Hannah Berry, as they discuss the power of comics and graphic literature to engage people around social justice.
A photo of Kaisa Leka from her trip around the U.S.A. reproduced in Imperfect (Porvoo, 2017), awaiting shelfmark
There are some tickets remaining for both events. The afternoon is free to attend but still requires a ticket. We are also delighted to be able to display parts of the Hero(ine)s exhibition, first shown at the University of Cumbria and the Lakes International Comic Art Festival in 2018, which features iconic comic heroes re-interpreted and reimagined in their female form. This can be seen all day at the Knowledge Centre.
from Kaisa’s Place of Death (Porvoo, 2015), YD.2019.a.6235
Comics and graphic novels certainly have a place amongst the Library’s universal and international collections, especially given the emergence of Comics Studies as an academic discipline in recent years. That’s not to say comics needed rehabilitating through academic approaches. It might be best to say, with Douglas Wolk, that comics are not a genre but a medium, and that graphic art cuts across genres. Also, the ubiquity of images in the internet age and the implications on reading habits go hand in hand with the fairly recent rise of graphic literature. So, if you want to understand the world today, a task which the BL’s collections are surely there to serve, then you need to read some comics!
also from Place of Death
Let’s take a look at the work of our featured authors. Kaisa Leka, a Puupäähattu prize-winning Finnish artist and adventurer, has created numerous innovative books with her partner and ‘faithful sherpa’ Christoffer Leka. Imperfect (awaiting shelfmark) is a beautiful travel diary about their trip across the U.S.A. made up of the postcards they sent to Christoffer’s nephews and niece every day. Place of Death is a sort of parable about ‘fear and the kindness of strangers’, the characters being the authors’ (plus families’) alter egos.
Cover of Karoline Stjernfelt’s I Morgen Bliver Bedre (Copenhagen, 2016) YF.2020.b.319
Karoline Stjernfelt’s I Morgen Bliver Bedre won the best debut category of both major Danish comics awards, the Ping Award and the Claus Delauran Award. To be published in three parts, ‘The King’, ‘The Queen’ and ‘The Doctor’, the exquisitely illustrated books take us to the late 18th century and the reign of Christian VII. The German royal physician, Johann Friedrich Struensee, wielded increasing influence in the court, having an affair with the Queen Caroline Matilda, and eventually becoming de facto regent in 1770. I Morgen Bliver Bedre captures that political chaos and the splendour of the court.
A ball scene from I Morgen Bliver Bedre
Marta Breen and Jenny Jordahl’s Women in Battle tells the story of women’s rights and we’re fortunate to hear about it just after International Women’s Day and just before the British Library opens its Unfinished Business: The Fight for Women’s Rights exhibition. It sketches 150 years of struggle through figures such as Sojourner Truth, Harriet Tubman and Malala Yousafzai. Marta and Jenny Jordahl have previously collaborated on the books 60 Women you should know about and The F Word, while Marta has also just published Hvordan bli (en skandinavisk) feminist (‘How to be (a Scandinavian) feminist’) (awaiting shelfmark).
Cover of Women in Battle
Last but not least, we should definitely also say a word about our wonderful chairs for the events, Nina Mickwitz and Hannah Berry. Nina’s monograph Documentary Comics: Graphic Truth-telling in a Skeptical Age (awaiting shelfmark) shows the documentary potential of comics through early 21st century non-fiction examples. She has recently co-edited the collections (with Dr Ian Hague and Dr Ian Norton) Contexts of Violence in Comics and Representing Acts of Violence in Comics, and is currently interested in mobilities and negotiations of social norms and identities in comics, as well as the transnational mobilities of comics themselves.
Depicting women’s struggle against slavery in Women in Battle
Hannah Berry is the UK Comics Laureate and her graphic novel Livestock won the Broken Frontier Award for Best Writer. Check that out as well as her two previous graphic novels Britten and Brülightly and Adamtine here at the Library.
We look forward to introducing you to these exciting creative voices and stay tuned for more Nordic events at the library over the coming year!
Pardaad Chamsaz, Curator Germanic Collections
Douglas Wolk, Reading Comics: How Graphic Novels work and what they mean (Cambridge, MA, 2007) YK.2007.a.19819
Marta Breen, Hvordan bli (en skandinavisk) feminist (Oslo, 2020) awaiting shelfmark
Marta Breen and Jenny Jordahl, Kvinner I kamp: 150 års kamp for frihet, likhet, sösterskap! (Oslo, 2018), awaiting shelfmark
Nina Mickwitz, Documentary Comics: Graphic Truth-telling in a Skeptical Age (Basingstoke, 2015) awaiting shelfmark
Nina Mickwitz, Ian Hague, and Ian Norton, Contexts of Violence in Comics (London, 2019) ELD.DS.445377
——, Representing Acts of Violence in Comics (London, 2019) ELD.DS.445165
Hannah Berry, Britten and Brülightly (London, 2008) YK.2011.b.11102
——, Adamtine (London, 2012) YK.2012.a.19765
——, Livestock (London, 2017) YKL.2018.b.3075
05 July 2019
The British Library holds a range of fascinating Russian-language periodicals published by Russian émigrés across the globe. The newspapers, magazines and journals published by the Russian community abroad during the interwar period is particularly rich.
A new wave of Russian emigration following the Revolutions of 1917 consisted in a great number of soldiers and civilians fleeing the destruction of the Civil War and famine in Russia. Many of these veterans of the Civil War later settled in the European centres of Russian émigré society such as Paris. Former soldiers remained deeply loyal to their regiments, publishing periodicals and newspapers which preserved the history of their regiment and reflected a strong sense of collective identity.
Finliandets, the magazine of the Finliandsky Guard Regiment, a Russian Imperial Guard infantry regiment founded in 1806, is an especially interesting example of such publications, though it is set apart from similar publications in the 1920s by its early manuscript form, hand-drawn illustrations and striking cover design.
Finliandets sought to preserve the memory of the regiment’s achievements and to maintain the sense of community among its members abroad. Finliandets appeared in Paris between 1925 and 1972. The British Library holds issues 1-42 as well as a ‘Jubilee Issue’ celebrating the regiment’s 150th anniversary in 1956. The first issue of the magazine was handwritten by Baron Pavel Adolfovich Klodt von Jürgensburg (1867-1938), the director of the Association of the Finliandsky Guard Regiment in France. Although the typewritten script of subsequent copies is fading, the careful hand of this editor in later issues can still be seen correcting and adding to the text.
This first manuscript issue envisages the magazine as a continuation of the regiment’s august service to Tsar and country, recalling the moment in which the regiment, on a routine manoeuvre, heard of the birth of its patron, the Tsarevich Alexei Nikolaevich, on 12 August 1904, the editor declares:
The memory of that which took place 21 years ago lives on in us today. In this love for the past we draw strength for the future. We will seek and rediscover that which has been forgotten, for the renewal of our esteemed regiment - a century-long, loyal service to Tsar and Fatherland. And, with the Lord’s help, our humble Finliandets too will serve this noble aim.
The magazine circulated in roughly 50 copies throughout its lifetime, and cost three francs. Half of the proceeds from sales went to the cost of producing the magazine and half to the organization itself.
In one appeal to members of the regiment to support an ailing comrade, Baron Klodt von Jürgensburg notes that the ‘Finliandsky Guard regiment’s incredible unity and solidarity has always set it apart’, appealing to members to ‘prove that this noble tradition is alive today’.
Finliandets reveals the importance of such publications for maintaining a sense of community within the distinct groups which characterized Russian émigré society. The magazine invites regiment members receiving the magazine to contribute to its production through verifying its contents, correcting and adding detailed information, and corresponding with Major General Baron Klodt von Jürgensburg at the Villa Marita, Avenue du Petit Juas, Cannes. The magazine often carried obituaries for veterans and the details of the organization’s administration, reflecting both an engaged and closely bound community abroad.
In 1956, a ‘Jubilee Issue’, more than double the length of the usual magazine, appeared between issues 33 and 34. The issue reflects on the regiment’s hope that this 150th anniversary could have been celebrated in their homeland. Despite the regiment’s continued exile, however, Colonel Aleksandr Likhosherstov, president of the Association of the Finliandsky Guard Regiment and a contributor to many émigré periodicals of the time, declares that ‘looking back over the history of our noble regiment, I am filled with a sense of pride at everything that the regiment has overcome during this period’.
This Jubilee issue contains a detailed history of the Finliandsky Guard Regiment from its inception, with lists and photographs of members of the regiment abroad in 1956, hand-drawn maps of military manoeuvres and even a reproduction of the musical programme, menu and invitation to the regiment’s centenary celebration, which took place in 1906. This five-volume series of bound magazines reflects the desire of former regiment to document and preserve its history.
An inscription in the first bound volume attests to the continued importance of this tradition into the late twentieth century.
The inscription may be roughly translated as: ‘For the son of Pyshkov, of the Volynsky Guard Regiment, to keep the memory alive, from Captain Zaitsev, Finliandsky Guard Regiment. 15 December 1977’
Finliandets is an important source of information on the history of the Russian regiments abroad, belonging as much to a narrative of Russian emigration in the twentieth century as to a history migrant groups in France. It also attests to the strength of the identity of Russian émigré groups, such as the Finliandsky Guard regiment, within the broad and diverse 20th-century Russian émigré community.
Sir John Hope Simpson, The Refugee Problem: Report of a Survey (London, 1939) Ac.2273/33.
Hannah Connell is a Collaborative Doctoral Partnership student at the British Library and King’s College London researching migration and diaspora through twentieth-century Russian-language émigré periodicals.
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