Lars Andersson, the celebrated yet reticent Värmland author, grants a rare interview, marking 50 years since his debut novel, ”Brandlyra,” was published. He reflects on the initial accusations of plagiarism, a challenging entry into the public eye that left him uncomfortable with interviews for a significant period. Now, at 70, he finds the process of articulating something of substance within the confines of an interview inherently difficult. Resembling a lean Hemingway with his fisherman’s sweater, white beard, and piercing gaze, Andersson’s literary output defies easy categorization. His novels resist concise summaries, forming a complex tapestry rather than easily digestible narratives.
Andersson’s work, spanning over 30 titles, comprises novels, essays, biographies, and literary thrillers. Rooted in the landscape of Värmland, his narratives extend outwards to encompass Boston, Barcelona, and Bangalore. While the subject matter seemingly varies widely, from Indian and Jewish mythology to Swedish agrarian society, a close examination reveals a cohesive exploration of the intricate relationship between humanity and nature, religion and politics, history and the present. Andersson views his novels as interconnected pieces of a larger whole, hoping readers will perceive his work as a unified body rather than isolated books. His career began in journalism after abandoning medical studies. He wrote cultural pieces, including literary criticism for DN, and briefly served as cultural editor for Göteborgs-Tidningen. His literary breakthrough came with his fourth novel, ”Snöljus” in 1979, solidifying his decision to dedicate himself fully to writing and retreat to the rural tranquility of Värmland.
While often perceived as serious, Andersson’s writing possesses a distinct, albeit understated, humor. He enjoys using both understatement and hyperbole, finding the writing process itself a source of enjoyment. Growing up in Karlskoga, the son of a teacher, he immersed himself in the works of Vilhelm Moberg. The town, a quintessential folkhem town dominated by social democracy and the Bofors arms industry, provided rich material for his later writing. The international connections and web of arms deals woven by Bofors, later realized as fertile ground for a novelist, became central to his August Prize-nominated novel, ”Berget,” published in 2002. This work, arguably his most autobiographical, interweaves the atmosphere of his youth with a present-day narrative set in India, a country he frequented for several years.
Andersson reveals the completion of a major biography of his friend and fellow author, Göran Tunström, titled ”Försök med ett liv” (Attempt at a Life). Having just finished the final chapter, he awaits the feedback from his editor and publisher with a mixture of anticipation and apprehension. The biography, based on Tunström’s previously unknown notebooks, promises to offer new insights into the life of one of the 20th century’s most beloved Swedish authors. The biography’s release coincides with a stage adaptation of Tunström’s acclaimed novel ”Juloratoriet,” directed by his son, Linus Tunström. Andersson and Tunström, sharing both a literary landscape and a close friendship, first met at a literary event in Stockholm in 1978. Andersson often stayed with Tunström during his visits to Stockholm, finding a kindred spirit and an open door. He identifies several recurring themes in his work: Karlskoga as a symbolic setting, the generations of his family in the farming village of Hedås, his experiences in India, and his childhood. The Tunström biography similarly presented itself as a natural subject for exploration.
Following the contemporary novel ”Nu,” Andersson returned to historical fiction with ”Hittebarnet i Kyjiv,” preceded by his first poetry collection, ”Jordens ansikte,” centered on the rosary, the most common prayer in Catholicism. Seven years prior, Andersson converted to the Catholic Church, a faith that resonates deeply with him. He finds solace in the rituals and traditions of the church, emphasizing the importance of action and surrender over intellectual interpretation. He laments the declining readership in Sweden, noting the absence of literary magazines even in places like lunch bistros adjacent to libraries. He yearns for a revitalized literary public sphere, particularly for young people, emphasizing the importance of language and its connection to inner thoughts and experiences. Despite critical acclaim, Andersson’s work hasn’t achieved widespread commercial success. While praised for its depth and complexity, he’s also been criticized for being ”irritating,” ”elusive,” and ”difficult.” He acknowledges these critiques but maintains that his writing style is deliberate, not intended to be antagonistic. He favors a tradition where narratives unfold gradually and avoids the current trend of autofiction, with the exception of his novella ”Kavita,” a blend of love story and childhood narrative.
During a drive through Selma Lagerlöf country, Andersson discusses the recurring motif of water, particularly rivers, in his writing. He also reflects on the political landscape in the US, expressing concern following Donald Trump’s election victory. He recounts his youthful travels in America during the Nixon era, a time when he, like many others, held a more optimistic view of the country. His connection to the US is also evident in ”Romanen om Hedås,” partially set in the Swedish-American community of Rockford, Illinois. This expansive, nearly thousand-page novel traces three centuries of his family’s history as farmers along the Klarälven river, representing a Swedish take on the great American novel tradition. He embarked on this ambitious project in his 50s, isolating himself in his childhood home for extended periods of intense, uninterrupted work. This period, while productive, was also marked by loneliness.
Reaching the heart of Värmland’s cultural landscape, Andersson opens up about a deeply challenging period in his life. In 2012, he received a cancer diagnosis, compounded by the birth of his youngest son, August, with life-threatening complications. During the following months, the survival of both father and son seemed uncertain. Miraculously, August’s health improved without clear explanation, and Andersson also recovered after extensive treatment. Now twelve, August, who has Down syndrome, brings immense joy to Andersson’s life. This experience underscored the importance of writing to Andersson’s identity. Even during his illness, when physically unable to write, his mind remained active, creating narratives. While currently focused on completing the Tunström biography, Andersson hopes to return to a major novel project soon, recognizing writing as his life’s driving force.
