Quote:
Originally Posted by Ea
Well, I think my opinion is quite coloured by my own view point (being danish).
English: English literature has a certain lightness, 'sharpness' and elegance, a certain low-key, dry humour that tends to show up in the unlikeliest places. Even if the story is a drama, there's always a certain sense of lightness of touch to the way it's told.
American: Again the humour; it's slightly absurd and rather physical. A tendency to wrestle directly with difficult issues.
French: The language. A tendency to floridness, while still sounding rather intellectual. Sometimes they are rather intellectual. The french do that very well. (caveat: I haven't read many French authors).
German: Again, the language. A tendency to somewhat long, complicated sentences. Intellectual, but more sombre than the French. The humour can be very absurd and decidedly strange.
Scandinavian: Gloomy, moody, dark, scary dramatics, interspersed with black humour. Or sometimes a very light, gently ironic humour. I think it may very well depend on the time of year that it was written (summer or winter). Though Scandinavian writing tend towards darkness and gloominess overall in my opinion. Even the humour.
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Very good. At this very epidermic level I can agree to all that you wrote, even about the Scandinavians. Let me try some cliches:
English: understatement.
American: direct
French: turgid?
German: profound?
Scandinavian: Let me add Rohal Dahl to the bunch, although he looks more British by your standard.
After Andersen, Baroness Karen von Blixen-Finecke wrote absolute masterpieces. Her soul looks free as a bird. So you do not score with her. Although originally she wrote in English, n'est pas?
Not so Peter Høeg with Smilla that starts so well and then it becomes a James Bond thing. But the beginning is just wonderful.
I read and liked the books of Sigrid Undset and there I see all your points.
Nowadays, the Scandinavian crime books are really very interesting.
Sjöwall and Wahlöö started with their beautiful stories of Martin Beck. I see some of your elements there.
Then the trilogy of Stieg Larsson outscores everyone else. The penmanship and the tension it creates with his Swedish aplomb is just outstanding.
Henning Mankell is also very good.
They all look detached (and I would use this as a cliche) but I see and recognize your points. Thanks a lot.
I forgot Axel Munthe. I read him when I was a kid. I do not remember enough to project his novel The Story of San Michele on your paradigms, I remember that I liked it very much.