Finnish books in translation finding their way onto European shelves
Five years ago, Finnish publishers were politely avoided - now Finland has become a talking-point
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Johanna Sinisalo
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Hannu Raittila
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By Jukka Petäjä
It has finally happened. With a single swipe, Finnish authors have succeeded in knocking out a good many of the bricks in the wall that has separated the country from the rest of the literary world.
Increasingly many Finnish books are being translated into other languages, as Finnish literature begins in the 21st century to grab an ever more prominent position in the gritty European market for translated fiction.
"The interest in Finnish literature is palpable, and the numbers back it up. For example, in recent years, WSOY have signed considerably more rights deals with foreign publishers for Finnish works than hitherto", says Touko Siltala, WSOY's Literary Director, General Literature.
Siltala emphasises that another new trait is visible: doors are opening to the bigger and better literary salons.
Nowadays the translation deals are being signed with large publishing houses, whereas only a decade ago, Finnish novels and other works were casting out their nets predominantly among the small niche publishers.
Publishers higher up the food chain have at their disposal working marketing machinery and distribution channels, which guarantee greater visibility for the Finnish titles in translation.
The placing of Finnish books on the world market is no longer resting solely on the shoulders of a few dedicated Suomi-fans.
Over at publishers Tammi, Literary Director Jaakko Tapaninen confirms that the demand for works by Finnish authors has grown strongly.
"The most recent signs of the enthusiasm were plain to see at the Frankfurt Book Fair in October."
"Publishers' representatives were asking about Finnish books in the bars, at dinner, and in casual meetings. What was particularly surprising was that there was no need for the Finns themselves to bring the subject up, but our foreign colleagues briskly led the conversation around to asking what interesting stuff there might be coming up for translation. Finland was a topic of conversation", recalls Tapaninen, who joined Tammi in 1997.
He says that the growth in interest from abroad has been one of the most pleasing experiences of his nine years in the job.
And the turnaround has been really abrupt: just five years ago, demand was barely lukewarm, and discussions had a stiff, forced air to them.
Touko Siltala has felt the same change in the wind.
He remembers that on earlier visits to Frankfurt it was almost impossible to collar editorial directors from foreign houses, as they were running so fast in pursuit of Anglo-American bestsellers.
"Now these same publishers absolutely want to be kept up to speed on what is happening in Finnish literature. They have noticed that there is some interesting material coming out of here."
In the view of Iris Schwanck, who heads up FILI, the Finnish Literature Information Centre, it is no exaggeration to claim that right now literature coming out of Finland is something of a fashion-fad in Europe - particularly in Germany.
"Germany is a veritable Eldorado for Finnish book exports, since books in translation account for around half of the entire fiction market there - and you can compare that with Britain, where the figure is around 2%."
Schwanck issues the reminder that some of the credit for the rise of Finnish books must go to the improved translator situation.
Nowadays in nearly any country you care to name you can find translators competent in Finnish, who also act as readers for several publishers.
"The input of translators is of paramount importance. None of the international publishers understand Finnish themselves."
The new century has brought a clutch of fresh Finnish author-names onto the European book market.
In recent years, the international publishing threshold has been crossed, often in impressive fashion, by such writers as Kari Hotakainen, Hannu Raittila, Johanna Sinisalo, Leena Lehtolainen, Mikko Rimminen, Leena Lander, Kjell Westö, and Anja Snellman.
Novelist débutantes who have made it immediately onto the international market include Eeva-Kaarina Aronen and Ranya Paasonen.
The brightest star in the Finnish translated-literature firmament remains Arto Paasilinna, who goes down particularly well with French readers.
"I'd go so far as to claim that Arto Paasilinna's success has been instrumental in generating the current level of interest in books from Finland. Without Paasilinna this boom would not have taken off to this extent", insists Touko Siltala of WSOY. Paasilinna is on the WSOY lists.
"The popularity of his books in France, for instance, is little short of incredible."
Siltala goes on to say that the breakthrough of detective fiction by Nordic writers has also had an impact on demand for Finnish works.
"The onward march of Scandinavian detective novels has cleared the way for Finnish writers in the genre, but it has not necessarily spread out into other branches of literature, for example traditional narrative fiction. The various genres live their own lives."
Iris Schwanck says that the interest shown by international publishers in Scandinavian detective fiction has progressed in a logical fashion from one country of origin to the next. Now it has been Finland's turn to get a slice of the cake.
Siltala, Schwanck and Tapaninen are all agreed, too, that there has been a big change taking place in Finnish writing itself.
It has an increasingly international mien and charge, which does not have to mean that the authors have surrendered their Finnishness in some way.
"This is one of the positive knock-on effects of globalisation: Finnish publishers are increasingly international, in both directions - as are Finnish authors. We are no longer out on the physical periphery of Europe - and nor are we seen in the same way as somehow provincial", explains Tapaninen.
It is precisely this internationalisation that looks to have prepared the ground for the growing demand for Finnish literature.
Iris Schwanck notes that EU membership [in 1995] finally brought Finland into the common European cultural family. Finland became a player like any other on the international literary stage.
She argues that Finland is now in quite a different fashion a natural part of the European literary patchwork. International publishers cannot know which way they should be going without checking out the patchwork square by square.
Jaakko Tapaninen believes that there is a perfectly natural explanation for the more international stance in the Finnish publishing world.
"There is a new generation at work in the various houses, people whose lives have been shaped by such things as Inter-Rail vacations and years spent as exchange students. The ‘internationalness' is not simply a handy glued-on label. At the same time, the writers are increasingly aware of international trends and genres."
Tapaninen observes just how important it is for a writer or a book to be prominently displayed at home when rights deals are sought for works in translation. Few will latch onto an unknown quantity, whether a novel or a writer, without reviews.
It certainly does no harm, either, for a book to figure on the best-seller lists.
"Prizes are of huge importance in this respect. Before she won the Finlandia Literary Prize [in 2000, with Ennen päivänlaskua ei voi, "Not Before Sundown", Tammi], foreign publishers were not the slightest bit interested in Johanna Sinisalo, but as soon as the news came out, deals began to be struck", says Tapaninen.
For his part, Touko Siltala admits that he had no idea of the significance of the Nordic Council Prize for Literature until Kari Hotakainen won it in 2004 for his novel Juoksuhaudantie ("The Trench Road", WSOY, 2002).
"The award carried the book out into the world. The publicity surrounding it was quite enormous, especially in the Nordic region. I really did have no proper grasp of the import of the Nordic Council Prize, because the last time an author from WSOY had won it was [back in 1963] when it went to Väinö Linna."
The successes abroad have not been merely cosmetic, insignificant literary footnotes, either.
"To take one example, Hannu Raittila's Canal Grande had a print-run of 8,000 in its first German edition, and they quickly sold out", says Siltala.
Siltala believes there is always something slightly arcane and inexplicable about the translation mechanisms. Some book will take off, and another will not.
He says he has often wondered why the international market has not opened up to hugely popular authors like Jari Tervo or Veikko Huovinen.
So, the Scandinavian bloc, Germany, and France are all starting to be under control, while the U.K. remains almost a blank spot on the map. Where is the next target of the literary troop-movements?
Siltala and Schwanck have an answer ready: Russia, here we come...again!
The publishing world in the Russian Federation is beginning to get back on its feet after the years of turbulence, and is clearly concentrating once more on quality fiction - so why not Finnish fiction?
Helsingin Sanomat / First published in print 7.1.2006
It has finally happened. With a single swipe, Finnish authors have succeeded in knocking out a good many of the bricks in the wall that has separated the country from the rest of the literary world.
Increasingly many Finnish books are being translated into other languages, as Finnish literature begins in the 21st century to grab an ever more prominent position in the gritty European market for translated fiction.
"The interest in Finnish literature is palpable, and the numbers back it up. For example, in recent years, WSOY have signed considerably more rights deals with foreign publishers for Finnish works than hitherto", says Touko Siltala, WSOY's Literary Director, General Literature.
Siltala emphasises that another new trait is visible: doors are opening to the bigger and better literary salons.
Nowadays the translation deals are being signed with large publishing houses, whereas only a decade ago, Finnish novels and other works were casting out their nets predominantly among the small niche publishers.
Publishers higher up the food chain have at their disposal working marketing machinery and distribution channels, which guarantee greater visibility for the Finnish titles in translation.
The placing of Finnish books on the world market is no longer resting solely on the shoulders of a few dedicated Suomi-fans.
Over at publishers Tammi, Literary Director Jaakko Tapaninen confirms that the demand for works by Finnish authors has grown strongly.
"The most recent signs of the enthusiasm were plain to see at the Frankfurt Book Fair in October."
"Publishers' representatives were asking about Finnish books in the bars, at dinner, and in casual meetings. What was particularly surprising was that there was no need for the Finns themselves to bring the subject up, but our foreign colleagues briskly led the conversation around to asking what interesting stuff there might be coming up for translation. Finland was a topic of conversation", recalls Tapaninen, who joined Tammi in 1997.
He says that the growth in interest from abroad has been one of the most pleasing experiences of his nine years in the job.
And the turnaround has been really abrupt: just five years ago, demand was barely lukewarm, and discussions had a stiff, forced air to them.
Touko Siltala has felt the same change in the wind.
He remembers that on earlier visits to Frankfurt it was almost impossible to collar editorial directors from foreign houses, as they were running so fast in pursuit of Anglo-American bestsellers.
"Now these same publishers absolutely want to be kept up to speed on what is happening in Finnish literature. They have noticed that there is some interesting material coming out of here."
In the view of Iris Schwanck, who heads up FILI, the Finnish Literature Information Centre, it is no exaggeration to claim that right now literature coming out of Finland is something of a fashion-fad in Europe - particularly in Germany.
"Germany is a veritable Eldorado for Finnish book exports, since books in translation account for around half of the entire fiction market there - and you can compare that with Britain, where the figure is around 2%."
Schwanck issues the reminder that some of the credit for the rise of Finnish books must go to the improved translator situation.
Nowadays in nearly any country you care to name you can find translators competent in Finnish, who also act as readers for several publishers.
"The input of translators is of paramount importance. None of the international publishers understand Finnish themselves."
The new century has brought a clutch of fresh Finnish author-names onto the European book market.
In recent years, the international publishing threshold has been crossed, often in impressive fashion, by such writers as Kari Hotakainen, Hannu Raittila, Johanna Sinisalo, Leena Lehtolainen, Mikko Rimminen, Leena Lander, Kjell Westö, and Anja Snellman.
Novelist débutantes who have made it immediately onto the international market include Eeva-Kaarina Aronen and Ranya Paasonen.
The brightest star in the Finnish translated-literature firmament remains Arto Paasilinna, who goes down particularly well with French readers.
"I'd go so far as to claim that Arto Paasilinna's success has been instrumental in generating the current level of interest in books from Finland. Without Paasilinna this boom would not have taken off to this extent", insists Touko Siltala of WSOY. Paasilinna is on the WSOY lists.
"The popularity of his books in France, for instance, is little short of incredible."
Siltala goes on to say that the breakthrough of detective fiction by Nordic writers has also had an impact on demand for Finnish works.
"The onward march of Scandinavian detective novels has cleared the way for Finnish writers in the genre, but it has not necessarily spread out into other branches of literature, for example traditional narrative fiction. The various genres live their own lives."
Iris Schwanck says that the interest shown by international publishers in Scandinavian detective fiction has progressed in a logical fashion from one country of origin to the next. Now it has been Finland's turn to get a slice of the cake.
Siltala, Schwanck and Tapaninen are all agreed, too, that there has been a big change taking place in Finnish writing itself.
It has an increasingly international mien and charge, which does not have to mean that the authors have surrendered their Finnishness in some way.
"This is one of the positive knock-on effects of globalisation: Finnish publishers are increasingly international, in both directions - as are Finnish authors. We are no longer out on the physical periphery of Europe - and nor are we seen in the same way as somehow provincial", explains Tapaninen.
It is precisely this internationalisation that looks to have prepared the ground for the growing demand for Finnish literature.
Iris Schwanck notes that EU membership [in 1995] finally brought Finland into the common European cultural family. Finland became a player like any other on the international literary stage.
She argues that Finland is now in quite a different fashion a natural part of the European literary patchwork. International publishers cannot know which way they should be going without checking out the patchwork square by square.
Jaakko Tapaninen believes that there is a perfectly natural explanation for the more international stance in the Finnish publishing world.
"There is a new generation at work in the various houses, people whose lives have been shaped by such things as Inter-Rail vacations and years spent as exchange students. The ‘internationalness' is not simply a handy glued-on label. At the same time, the writers are increasingly aware of international trends and genres."
Tapaninen observes just how important it is for a writer or a book to be prominently displayed at home when rights deals are sought for works in translation. Few will latch onto an unknown quantity, whether a novel or a writer, without reviews.
It certainly does no harm, either, for a book to figure on the best-seller lists.
"Prizes are of huge importance in this respect. Before she won the Finlandia Literary Prize [in 2000, with Ennen päivänlaskua ei voi, "Not Before Sundown", Tammi], foreign publishers were not the slightest bit interested in Johanna Sinisalo, but as soon as the news came out, deals began to be struck", says Tapaninen.
For his part, Touko Siltala admits that he had no idea of the significance of the Nordic Council Prize for Literature until Kari Hotakainen won it in 2004 for his novel Juoksuhaudantie ("The Trench Road", WSOY, 2002).
"The award carried the book out into the world. The publicity surrounding it was quite enormous, especially in the Nordic region. I really did have no proper grasp of the import of the Nordic Council Prize, because the last time an author from WSOY had won it was [back in 1963] when it went to Väinö Linna."
The successes abroad have not been merely cosmetic, insignificant literary footnotes, either.
"To take one example, Hannu Raittila's Canal Grande had a print-run of 8,000 in its first German edition, and they quickly sold out", says Siltala.
Siltala believes there is always something slightly arcane and inexplicable about the translation mechanisms. Some book will take off, and another will not.
He says he has often wondered why the international market has not opened up to hugely popular authors like Jari Tervo or Veikko Huovinen.
So, the Scandinavian bloc, Germany, and France are all starting to be under control, while the U.K. remains almost a blank spot on the map. Where is the next target of the literary troop-movements?
Siltala and Schwanck have an answer ready: Russia, here we come...again!
The publishing world in the Russian Federation is beginning to get back on its feet after the years of turbulence, and is clearly concentrating once more on quality fiction - so why not Finnish fiction?
Helsingin Sanomat / First published in print 7.1.2006
JUKKA PETÄJÄ / Helsingin Sanomat
jukka.petaja@hs.fi