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Also employed by reporters, she was a brilliant poet.
“I smoke. You will die. “It is already a classic, obligatory in memory elements, perpetuated by Wikipedia.
On one level, this is a perfectly factual and correct finding: Kristina Lugn smoked. We will all die, hopefully not at the same time. It is the causal connections that make it poetry: you will die just because I smoke. Or maybe even better: if I didn’t smoke, you wouldn’t have to die.
An ironic headland aimed at a culture of consensus is more than expected where, with sound rules and kettlebells, we keep death and other unpleasant things at a distance, perhaps even deep down we believe that we can also make death take personal responsibility and apply social distance.
The role of the poet remains Such a culture of being the bum of collective triumph. The one who is delusional in conformity. The mismatch. The smoker who does not let us forget that death exists. That life exists. That they cannot be separated from each other, even in a well-planned and hyper-hygienic society.
The one who is delusional in conformity. The mismatch. The smoker who does not let us forget that death exists. That life exists
Kristina Lugn is often written in a canon by Swedish folk-house expressionists; poets who each in their own way rebelled against the freedom of rust in the most modern country in the world. It is not an unreasonable simplification. On the contrary, he has a lot to speak for himself, especially the parallels with Sonja Åkesson: “The girl smells in the comfortable bed / The cat clings to the green meadow / The neighbors are sitting at the window and sewing / Mom is baking and come out and spit, “sang Riding Season in a rock song from Paradise of Well-Being.
“Pretty close to heaven / in a house that’s pretty gray / in a room with a nice wallpaper / Little Liselott lives / And her bad mother / actually lives there too / stands by the stove and smokes / and ask where Liselott is, “said Kristina Calma in a humorous song from one of the top floors of a functional apartment block. Probably at Täby Centrum, where he lived for a long time.
The older poet The impact on the youngest was direct and personal. In Eva Beckman’s 2007 documentary on Sonja Åkesson, Kristina Lugn talks about a poetry reading when she went to high school. Erik Beckman, Jarl Hammarberg and Sonja Åkesson read their poems in the hall. Kristina Lugn, who published her first poem when she was 12 in the Kalle Anka newspaper, saw the light, or possibly the shadows, in the bright rooms, and re-furnished her own writing. Later he moved to the Jarl Hammarberg Åkesson collective. The two also became a couple.
Kristina Lugn, who published her first poem when she was 12 in the Kalle Anka newspaper, saw the light, or possibly the shadows, in the bright rooms.
Majken Johansson can also be said to embody a distance from conformism in pastoral modernity: first as an intelligence aristocrat in the academic Lund, then as a bohemian on the way to the bottom in Stockholm, finally as a soldier of salvation (the scholar literary writer Paul Tenngart talks about this in “The Life Testimony Majken Johansson”, “An extremely readable biography.)” You only worked on the brush / sorrel, / you only longed for the long haul, / sadness / and every morning and every afternoon, / and You also worked in sports, / sadness. “
More names? Bodil Malmsten, perhaps. The Katarina Frostenson that debuted with the “Clean Earth” collection. Aase Berg. Johan Jönson …
And floating on them all, Gunnar Ekelöf in “De Folkhemske”, where the useless poet and anarchist were ordered to take away, as punishment, all the “fantasy noses” in the “sophicopter” that echoes “far above charming fresh sports forests / where never again luffers luffers luffers “.
The poet and critic Eva Ström wrote about the Åkesson documentary on Sydsvenskan when it was shown by SVT. He noted that Kristina Lugn emphasized that Sonja Åkesson should not be confused with the “person” that she created in her poems, “the housewife of writing.” Åkesson did not cook sausages, he read beat poets, Ström summarized. A similar warning to equate Lugn with his poem is in place. Born and provided with cultural capital in a general family and graduated from the University of Uppsala, she was not predestined to be someone else’s social.
But all the poems, all the public activities, are a form of role play, and Kristina Lugn played virtually the double role of popular and imprisoned celebrity in the HSB prison space in the suburb.
Kristina Lugn played a virtuous double role as a popular celebrity and inmate at HSB’s prison facilities in the suburb.
Paws of death through Kristina Lugn’s poetry. She flirts with it; perhaps to make life jealous. “I can get mad because life is so short and impossible,” he said in a DN interview in 1994.
Therefore, its predecessor must be brought to another skillful role-playing poet, who wrote a couple of the most beautiful lines in Swedish lyric: “Observe how our shadow, observe Movitz mon Frere! / Inside a darkness ends.”
It was in that darkness that Calm lit the glow of his cigarettes. It will be a long time before they burn in the filter. I smoke you will die
Read more
Kristina Lugn is dead: the poet turned 71
Åsa Beckman: She wrote that other poets resembled rigid bureaucrats
Friends and colleagues remember Kristina Lugn
