Ebba L. Lewenhaupt - Kung Märta

In 1960 was a novel called Kung Märta published. It was written by Ebba L. Lewenhaupt and tells the story of Märta Eriksdotter (Leijonhufvud). The title Kung Märta (King Märta) is the nickname she was given by the public for how she handled the Sture family estate businesses.

The book is not at all well-known even though it was mentioned on Märta's Wikipedia page and I borrowed it at the Stockholm Public Library.

The book follows the life of Märta Eriksdotter (Leijonhufvud), but also her husband Svante Sture and to a lesser extent her sister Margareta Eriksdotter (Leijonhufvud). Much of it is devoted to the supposed love triangle between the three of them. I have talked about it both in my entry about Märta and my entry about Margareta before.

Märta's sister Margareta

Like I said then, I seriously doubt that it is true and that it more serves to antagonize the Vasa and the Sture families which is and has been since the 16th century very common. Lewenhaupt also antagonizes Märta and Margareta and also puts Märta against her mother Ebba Eriksdotter (Vasa). Lewenhaupts Märta is described as jealous of her perfect sister and hated by her mother for being "a child of sorrow" though she was born one month after her father was executed in The Stockholm Bloodbath. Based on the historical source material however, it seems like Märta was a beloved daughter and sister and she seems to have been pretty close to both.

About the engagement Svante and Margareta, I think that even if their parents had talked about it (because that sort of things happened), I do not think either of them would remember much of it. Svante was only three and Margareta four at the time of the bloodbath and after that Svante was out of the country pretty much the rest of the time up until Margareta married Gustav Vasa.

Svante is also very different from what I think he was like. He's quite macho, but kind and years after Margareta  all the time wherefore Märta never is totally comfortable in their marriage. She also seems more or less unaffected by the Sture Murders, which really feels odd to me considering the contents of the historical sources both during and after the murders.

Märta's son Nils

Even though the template images is a bit hard to read through 60 years later, especially when you have some knowledge about the historical sources, Kung Märta is very entrancing and it is surprisingly easy to read through. It tells the story of Märta's life chronologically but episodically with lots of small or big jumps in time. This creates a lack of flow in the narrative and affects all the characters's development. It also mainly takes an interest in big events like Dackefejden, the Sture murders or when Margareta dies and it is hard to grasp for example Märta's marriage or her relations to any of her other family members, friends or subordinates.

There is a somewhat proto-feministic tone to Märta's character. She is very active and enterprising in a way that I can see her being myself. At the same time Lewenhaupt also vilifies her. Märta i depicted as being "a child of sorrow" (because her father died before she was born) with flamy red hair (coloured by the blood of the bloodbath), a freckled, oblong face, dark eyes and a lanky body. This is put in sharp contrast with her older sister who is portrayed as blonde with a more or less perfect look and personlity.

Märta's husband Svante

Svante is also depicted as blonde and like you can see on his portrait to the left, I do not really think his hair colour could be considered blonde.

From what I have gathered, no portrait from the time period has been identified as Märta, but if you go by the appearance of her blood relatives's (Margareta and Märta and Svante's three children Nils, Erik and Kristina) portraits she might have been the blonde one. Her dead father-in-law, Sten Sture the younger, seems to have been blonde, but Svante was not.

Märta and Svante's son Nils has a very light hair colour, while Erik is a bit darker. Kristina's hair is covered in both portraits that have been identified as her. All Sture children also seems to have bright, green eyes while Svante's are dark. This has me thinking this is a trait, they inherited from Märta also. Kristina and Erik also have rounder faces than Svante and Nils, which might derive from Märta as well.

Märta's son Erik

Lewenhaupt describes Märta as having a sharp tongue which is something I can totally see. I do not see her as gangly, but very petite. This might be because I want to contrast it to the seemly larger-than-life personality I imagine she had though.

I am very ambivalent about my feelings towards this book. In fact I do not know if I have been this ambivalent towards one since I read Terry Hayes's book I am Pilgrim. I mean it is so filled with clichés, it is not really based in historical facts, but more in storytelling of historical individuals and events which are more or less mythical and  both Märta and the other characters are seriously lacking development and Märta's feelings and reactions are often strange and not based on the historical sources either. It is also evident that it was published almost 60 years ago.

Märta's daughter Kristina

However, there is something about this book that I cannot help liking and I think it has all to do with who it is about. Märta is one of my absolute favourite of any historical women and not only Vasa women. She is totally amazing. She is not at all well-known and it always breaks my heart a little whenever I am met with faces looking like big question marks when I mention her name. I just think she deserves so much more and I am glad that someone besides me has cared enough about her that they wrote a book about her. It warms my heart so very much.






All the paintings were borrowed from wikimedia commons.

Marie-Louise Flemberg - Kristina Gyllenstierna. Kvinnan som stod upp mot Kristian Tyrann

I have talked about Kristina Nilsdotter (Gyllenstierna) before. She was the first of the women who was given an entry in my Historical Women series and is one of my absolute favourites among Vasa women.

Kristina is known throughout history as Kristina Gyllenstierna (Just as her nephew is known as Gustav Vasa.) but to call her this is a bit anacronistic. The tradition at the time was to use patronyms, which means that it was much more important to state that she was Nils's daughter (Nilsdotter) than that she was born into the noble family Gyllenstierna.

Kristina married Sten Svantesson (Natt och dag), son of the regent of Sweden Svante Nilsson (Natt och dag) in 1512. Her father-in-law died only a few month after the wedding (He is said to be one of the first known cases of syphilis in Scandinavia.) and a power struggle breaks out between Sten and another noble man named Erik Trolle. As a regent, Sten took the name Sture to appeal to the popularity of former regent Sten Sture (called the older in Swedish history books today). Neither of these were kings in the formal sense because Sweden was still part of the Kalmar union with the other Nordic countries which was ruled by the Danes. In Kristina's time it was first Hans and then his son Kristian II who held the throne.

Painting from the 19th century by Carl Gustaf Hellqvist
of Sten Sture the younger's death.

Today (19 January) marks the 598th anniversary of the battle on the ice of the lake Åsunden outside of the town then known as Bogesund, that today goes by the name Ulricehamn in the province Västergötland. Sten was badly injured and died on the way back to Stockholm on 3 February 1520.


After this the supporters of Sten were split up and no one wanted to take up the leadership of the resistance beside Kristina who lead the defence from the castle Tre kronor in Stockholm. Last year, Marie-Louise Flemberg published a biography about her:  Kristina Gyllenstierna. Kvinnan som stod upp mot Kristian Tyrann.

Overall, I enjoyed the book. Even though I had her life story was known to me, there were some informations that I did not know. Among other things that Kristina was pregnant when Sten died and that she gave birth during the siege of Stockholm. A child that other historians say was less than a year when his father died and that the boy died during the siege. Wikipedia says that the boy was named Gustav like Kristina's youngest son from her second marriage.

The child is supposed to have been dug up together with Sten's dead body and burned at the stakes with the other victims of the Stockholm bloodbath. One source claim that the child was a week old, which would indicate that Flemberg is right about the pregnancy. I would not really be surprised if it was one of those "details" that have gone over male historians's heads (or at least been written of as meaningless).

Statue of Kristina from the Royal Palace in
Stockholm made av Johan Theodor Lundberg
in 1912.

One problem with the book is that Flemberg from time to time mixes up the relations between characters. For example, Gustav Vasa's mother Cecilia Månsdotter (Eka) is the daughter of Sigrid Eskilsdotter (Banér) and not her sister, which makes Kristina Gustav's aunt and Sigrid his grandmother. 

Gustav's attack on Kalmar castle and Berend von Melen is likewise called Kalmar bloodbath which I do not think is correct. I know of two events in the history of the town that is called so (one with the union king Hans executing the burgess of the town in 1505 and one with Swedish king Karl IX who executed those faithful to his nephew Sigismund in 1599.

As a biography over Kristina it also seems a bit strange because she is absent for most of the book that is more focused on the stories of her husband and older son Nils. Flemming is convinced that the latter really was the teenaged boy Gustav Vasa nicknamed Dalajunkern who rebelled against him. Perhaps this is because of lack of sources and because of the chaos that is the 1520's in Swedish history. However, because the book is said to be a biography about Kristina, I would have liked to to hear more about her second marriage to Johan Turesson (Tre rosor). Even though she did not meddle in the politics to the same extent after she married Johan, I do not really think her life would be uninteresting. The time period indicates otherwise...

To be called out on your ignorance

Yesterday I went to a writing workshop with Australian writer Gillian Polack that I might talk about more in a different blogpost. In this one, I would like to focus mainly on one thing she said that has left me feeling a bit uncomfortable all day that I seriously feel I need to comment on. It might make a lot of people uncomfortable, but since Miss Fisher fans in general seems very open-minded I hope you can at least hear me out and reflect on it before you start trolling me.

A lot of fans hang out in a certain chat forum where we discuss just about everything. Most of us there are from The US and Europe and not from Australia. This is important because it plays into why I react so much to this.

Yesterday I learned that Australian readers are used to different types of characters and writing styles to European and American ones. I think it is important to realise that Phryne is actually written into this tradition (probably in the beginning not really intended for non-Australian ones either) by an Australian author. What Gillian Polack also said yesterday, was that, if Australian authors are to be sure to make it outside of Australia, they needs to tone down their "australianess" to please Americans and Europeans (which are the biggest markets for Australian literature outside of Australia).

During discussions among (mostly) American and European fans the differences in Phryne's book and TV persona often comes up. Book-Phryne is shallow, serious and a little spoiled, while TV-Phryne is exuberant, kind and feeling.What has been bothering me all day is not other fans's opinion on the books as much as that I have not seen any comment about the "strangeness" people feel in regard to the books's writing and characters might be attributed to different cultural preferences in fiction. This is, to be honest, rather typical reactions coming from Americans and Europeans to something that is out of their familiar area too.

I really do get the strangeness, I also think the books a bit weird at times. This post is made mostly because I have kind of been called out on my ignorance and it has made me uncomfortable all day. Even more in light of the changes that were made to the characters for the TV show and I wonder how much that really was because of a want to have it work better in other countries than Australia.

I guess Australia can be seen as part of Western culture. What the whole issue really shows is that even if we are all thinking of it as homogenous, we are still quite different. I also wonder what in Swedish litarture that others find strange and if a clue is to be found in the remakes of films Hollywood does.

August Strindberg - Hemsöborna (Stockholms stadsteater)

Han kom som ett yrväder en aprilafton och hade ett Höganäskrus i en svångrem om halsen. (He arrived like a whirlwind an evening in April and had a Höganäs jug in a belt around his neck.)

~ August Strindberg, Hemsöborna

The quote above is probably one of the most famous of all introductory sentences in Swedish literature. It is taken from August Strindbergs book Hemsöborna which was first published as a novel in 1887. Strindberg spent a couple of summers at Kymmendö in the Stockholm archipelago. The inhabitants on that island took the novel personally and fobid Strindberg to return there because of it. I went to see a theatre version of the novel, directed by Stefan Metz at Stockholms stadsteater yesterday

The cast of Hemsöborna. Photo: Sören Vilks

The plot revolves around the inhabitant at a farm at the island Hemsö in the archipelago outside of Stockholm. The farm is run by the widow Flod (often called madam or moster [aunt]). Her son Gusten prefers to be out on the sea hunting and the farm decays, so she sends out for help and Carlsson is hired as a farmhand to help and he is the one arriving as a whirlwind an evening in April. 

Ann Petrén as Madam Flod.
Photo: Sören Vilks

Carlsson knows a lot about farming, but nothing about the sea, but with his help the farm prosper and everyone seems to like him quite well (in the case of Madam Flod a little too well...), but Gusten remains sceptical. Carlsson rents out one of the houses to summer guests. They have a maid he falls in love with, but after hearing Madam Flod proclaiming her love for him and realising he would get his own farm, he marries her.

The marriage, however, changes Carlsson and he goes from energetic farm to greedy entrepreneur. This theme is something it has in common with Chekhov's The Chery Orchard which I saw in Göteborg last week. Hemsöborna treats it far better though! The Cherry Orchard tried too hard to place the plot into a modern setting, it did not work because it felt too much like it was forcing political standpoints down in your throat and a classical play was added sort of like an afterthought. Hemsöborna, however, sticks quite well to the original plot and because it does, it manages to portray how power and money can corrupt a man.

The book

All the actors (even the often dancing extras) were very good. I am a big fan of Ann Petrén who played Madam Flod since long before this and she was really amazing here as well, but Claes Malmberg worked very well as Carlsson as well.

In The Cherry Orchard I was very confused by the scenery. With the actors coming out of boxes and trees in the background that was not even cherry trees and nothing about it really added up to what the characters were saying.

The scenography of Hemsöborna was very simple but extremely effective. It was all made up of corrugated fiberboards covering the entire stage, screen which showed what I think was Strindberg's own paintings and with sticks being used as waves, tree branches and fishing-rods. However the scenography also turned out to be extremely effective. The last scene is about Gusten and Carlsson together with the farmhands Rundqvist and Norman being out on the ice in a snow storm and the ice starts to break up into ice floes. The rest of the cast tore off those pieces of corrugated fiberboard pretty much piece by piece and it worked very well.

So to sum it all up: while the Göteborg theatre production of The Cherry Orchard (which was the one production I was looking forward to) was one of my probably worst theatre experiences ever, Hemsöborna (which was an unexpected christmas gift) turned out to be one of my best theatre experiences ever (Not the best. That is still Othello at Shakespeare's Globe Theatre in London.) and it restored my faith in the theatre that got torn a bit last weekend.





The photos, besides the first and the last ones, was borrowed from here. Photographer: Sören Vilks

Ruddy Gore - TV vs Book

While Ruddy Gore is the 7th book about Phryne Fisher, it is the 6th episode of Miss Fisher's Murder Mysteries. Like in most cases this far, the plot has been reduced and changed somewhat for the TV adaptation. To be honest, I really do find part of it to benefit the pacing of the story. The theatre felt quite overcrowded in the book and, like I said in my book entry about Ruddy Gore, I did have some problems taking an interest in all the cast and crew. They are all quite egocentric and in love with each other.

I found the best part with the book to be Phryne's date with Lin Chung and the issues it provoked with interracial relationships at the time. This issue was treated by the TV show in the episode of The Green Mill Murder and I was pleasantly surprised to see Phryne contemplating it as much as she did. Same goes for her finding it sad that she is going to lose one of her lover, Dr Mark Fielding,who returns from Flying too High, to the nurse-trained actress Mollie Webb.

Phryne with Bernard Tarrant and Lin Chung

I do love that Phryne is adventurous and reckless and sort of does whatever she wants and does not care about what people think. However, I do find those moments when she gets emotional. Especially in regards to her relations to other people. It keeps her grounded. Makes her human. Even though she only has loose liasons with men, she does care about them. This caring for her lovers is taken out of the TV show almost entirely except for in the case of Lin Chung. (Again on the subject of recurring characters and plots that is evident in the book, but not on the show.) Besides Lin (and Jack Robinson of course), we do not get to see any of her "gentlemen callers" ever again. The case does rattle Phryne in a slightly different way though. When a sand bag falls, Jack saves her and it falls on Gwilym Evans (the actor Dot Williams has a celebrity crush on) instead, killing him. This incident happens in the book too, but in a slightly different way and for different reasons.

'Don't make the mistake of thinking their emotions are all put on. They're real people underneath, just exxaggerated. They talk to me', she observed, 'because I care for them. They call me Mum. The're quivering little things under all that glamour. They're always afraid that no one really loves them, that they're going to fail. But they're addicted to applause.'

~Miss Pomeroy, Ruddy Gore

The ghost of Dorothea Curtis

Even though I do prefer the simplification of the plot in the TV episode in this case, I do find it sad that they have left out one of the central themes of the book: wanting/needing to be seen. I really think this is a basic human instinct. Not that everyone does need to stand on a stage to fulfill it, but I think everyone feels a need to be acknowledged and taken seriously from time to time. The setting of the plot in a theatre and also to a certain extent the apperance of "a ghost" work well to enhance this theme.

'I bet none of you have ever handled stage machinery.'
The murmurs increased.
'Of course not, we're actors, not technicals', said Cameron Armour. 'If I'd wanted to be a tradesman, I wouldn't have done ll that voice training.' Phryne began to understand Mr Brawn's rage and scorn.

~Ruddy Gore

Phryne and Dot

It is not that the show does not deal with this subject. In fact it does so to a larger extent than the books seem to be doing actually. Phryne's employed taxi driver Bert Johnson tells his partner Cecil Yates that he is hopless when it comes to collecting strays in Cocaine Blues which is a trait also true of their employer. Both in the books and in the TV show, Phryne has an ability to really see people who needs it. She cares for them and encourages them to reach their full potential. She does not ever pamper them, which can be seen by the way she treats the female star of the theatre production Leila Esperance in the book.

Finnish author Tove Jansson is considered one of the giants in the children's litterature of the Nordic countries and her works about the Moomins are known worldwide. I have not talked about her before on this blog, because I have long felt a need to reread her books before I do so. However, one of her short stories, Det osynliga barnet (The invisible child) is very much worth mentioning here.

In the short story the character Tooticki brings the girl Ninni to the Moomin family. Ninni has been taken care of by a horrible older lady who did not like her. Because of this, she has lost all her confidence and turned completely invisible and the only way to know she is there is by the sound of the little bell, the lady had put around the girl's neck. Ninni is placed under the care and love of Moominmamma and little by little she becomes visible again.

I feel like there are certain similarities in Moominmamma's treatment of Ninni and how Phryne handles Dot in the TV show. When she first meets the younger woman in Cocaine Blues, Dot is mainly invisible. She works as a maid at the Andrews's house, but you cannot say that she draws much attention to herself. As she comes to work for Phryne however, Dot starts to develope as a person. She finds her confidence and role in life without giving herself away at the same time. And Phryne is there, nudging, caring and encouraging. You can see her become surprised by Dot's strict religious reasonings of the modern world in Cocaine Blues, but she never judge her.

"When I came to work for you, Miss, I was afraid of everything. And you taught me so many things, and you made me brave, and you made me happy."

~ Dot Williams, Death do us part

Dot is quite different in the books. She is much more timid and not as active in Phryne's cases as she is on the TV show. With Phryne's mentoring, TV-Dot starts learning the detective skills and from time to time ends up solving the crimes to a certain extent. In a way I think Dot is the main character who develope most throughout the show. I prefer the more active TV-Dot over the passive book one. The friendship between the two women in the books is just wonderful and they certainly love and respect each other (even so much that Phryne continue to wear the St Christopher medal that Dot gives her before she goes away to the circus in Blood and Circuses). However, I do miss Dot doing her own sleuthing and Phryne teaching her the ways of the detective. She does participate from time to time (like helping Phryne go through all the dressing rooms at the theatre in Ruddy Gore) but it is just not the same and the character does not go through the same evolution in the books as in the TV series.


The image of the cover of Det osynliga barnet, did I borrow from here.

Kerry Greenwood - Ruddy Gore

Ruddy Gore is the 7th book about Phryne Fisher in which Phryne goes to the theatre to watch Ruddigore and celebrate the aviator Bert Hinkler who has flown from Croydon to Darwin.

The Bert Hinkler of the book is probably Herbert John Louis Hinkler the first man to fly solo from England to Australia, reducing the flight record of 28 days to 15. This all happened in February 1928, which had me somewhat confused about the timeline of the books, so I did a little bit of sleuthing through the books I have already read as to what dates are mentioned.

• Cocaine Blues: No dates mentioned at all as far as I could discern. (If you have noticed any indication as to any dates, please tell me in a comment.) 
• Flying too High: Amelia McNaughton mentions that her father wanted to marry her off like it was unbelieveable to happen in 1928. The date for her brother Bill's trial is set to 17th August 1928 as well and there is a mention of it being a winter's day, which for Australia would mean a day somewhere between June and August. 
•  Murder on the Ballarat Train: The murder of Anne Henderson took place on the night of 21th June 1928 and at the end of May that same year, Bobby Matthew's Megatherium Trust crasched, ruining Anne Henderson.
• Death at Victoria Dock: Bert and Cec are invited to dinner and mention that there will be a strike on 10th September and Phryne says it is the 1st September that day. Like Amelia, Phryne cannot believe someone was shooting at her because it is 1928.  
• The Green Mill Murder: No year is mentioned, but it seems to be set in October which is mentioned as Phryne is flying up to the mountains to meet Victor Freeman. 
• Blood and Circuses: The date is stated already in the beginning as Mr Christopher's body is found at the boarding house in which he lives. Jack Robinson, Constable Harris and Sergeant Grossmith also talks about the society getting harder and colder in 1928, so a police strike would not be so easy as it had been before. Also, when Phryne feels like her persona is slipping back to its primitive roots, her contemporary identity is refered to as "1928 Phryne". 
• The dates in Ruddy Gore are somewhat diffuse. 1928 is mentioned and based on what the boy Herbert Cowl (I wonder if he is named Herbert because of the other references to Hinkler.) who becomes Phryne's assistent tells her, it sounds like it would be a little before christmas. Phryne also tells the theatre manager Bernard Tarrant that she has had enough performance for a while and tells Dot Williams that this is not going to be like her time at the circus and she will come home every night. Phryne also have the St Christopher medal that Dot gave to her as she was leaving for the circus. So the book is definitely supposed to be set after Blood and Circuses.

Based on the preface of the book, there was a production of Ruddigore in Melbourne in 1928 (but it did not include any murderers). After a lot of hard googling I have not been able to deduce if there where a gala performance of the play for Hinkler for real and books on 1920's theatre in Australia has turned out to be pretty rare here in Sweden. Therefore my thoughts about the timeline will remain what it is. They might just have waited with celebrating Hinkler until November/December?

Anyway, Phryne and her friend Bunji Ross (one of those recurring characters of the books that I have talked about before) are at the theatre to celebrate Bert Hinkler's triumph. However, the performance is cut short when one of the main actors and then his understudy are poisoned. Phryne starts to investigate, but the main suspect seems to be the ghost of the late actress Dorothea Curtis who died playing Ruddigore in London thirty years prior to the events in Ruddy Gore.

'Could you call up a spirit for me? I've been trying to find one lately and she is very difficult to locate.'

~Phryne Fisher, Ruddy Gore

It is also in this book that we meet the character Lin Chung for the first time. On the way to the theatre, Phryne and Bunji helps him and his grandmother out of a fight and they are cleaned up at the Lins's house before they are off to the theatre. Throughout the entire book, Chinese men are following Phryne and she seems a bit worried about it.

Not only is the timeline between the books a bit confusing, but at the theatre history seems to be repeating itself with resemblances to thirty years prior. Phryne is also thinking how her life has turned into a comic opera. There are a lot of references back to Dorothea and Phryne is sure that her death was not an accident.

Hitherto I have liked each book about Phryne Fisher more and more, but this is a break in that trend. I prefer both Blood and Circuses and The Green Mill Murder over this one. I liked the plot and the theatre milieu and the world around the production of Ruddigore, but even though it was depicted just as thoroughly as the circus in Blood and Circuses which I really enjoyed, I thought this a bit tiresome. I also had problems connecting to all the people at the theatre. Everyone seemed to be quite full of themselves and they were all in love with each other and also left each other heartbroken. It was like a drama series on TV. Adding the Chinese and it got a bit messy. I still liked the book just fine. It was a fun read and it did not put me off the books.

Karin Boye - Kallocain

I have understood that recent events in the world has made George Orwell's dystopian book 1984 popular again. I definitely see the reason to compare it to the world of today, but I want to tell you about a Swedish book that is not so famous, even though it has been translated to other languages than Swedish. It is called Kallocain and was the last book written by Karin Boye who commited suicide only months after it was published in 1940.

The book is about the chemist Leo Kall who tells the story of his life. He invented a truth serum called kallocain for the totalitarian Världstaten (World State) which controls everything in its citizens lives. The kallocain gives the state a way to control people's inner thoughts as well. However, listening to them has a side effect on Leo himself. He starts to question the teaching and the propaganda of Världstaten.

Considering it was published in 1940, it is easy to see that Boye mainly got her inspiration from the situation in contemporary Germany and Russia where the state required everything from the individual. The citizens should be submissive and obey every whim from the regime. Just like the regimes in Germany and Russia, Världsstaten also stalks, tortures and kills disobediant citizens. Feelings (especially of the more empathetic nature), humanism and free thoughts needs to be supressed totally and everyone needs to make huge sacrifices in the name of the state (such as giving up your own children to the state!) without blinking. The book also uses a lot of military terms, so you from the very beginning realise that the regime is into warfare. Everyone wears uniforms (special ones for every occasion) and the children are taught to play war from a very young age (They even uses explosives and has their own guns!). I also cannot help thinking Karin Boye wanted to criticise the view of science at the time. I do believe that science is good and things need to be scientific, but during that time, it was from time to time misused to devastating purposes.

Boye's language is very austere, but the pace of the story is rather hectic. It is easy to read, but you still need to stay with it all the time. It is a very thought-provoking book that unfortunately is still relevant today. While Orwell's future is in the past (1984), Kallocain is set in today's present (the 21st century), something that, to me, makes it a bit scary based on the current political situation we see througout the world.

Blood and Circuses - TV vs Book

"Justice, not money, determines the cases worthy of my attention."

~Phryne Fisher, Blood and Circuses (TV)

As I said in my entry about the book, there are a lot of different thoughtprovoking issues in Blood and Circuses and I probably get back to it in the future. It was however one issue that was more prominent than others to me and it was how both versions of the case at the circus sort of got to Phryne Fisher herself, but in different ways.

Phryne, Dot and Jane sneek a taste.

I had really decided I was going to leave Phryne as a character pretty much alone until I had read through all the books, but after reading this book (and to some extent also after a person I like said Phryne was only a shallow James Bond character), I figured I needed to address her character pretty much immediatelly, but first I will do a recap of the plot of the TV episode and how it deviates from the book one.

Just like the book, the TV episode starts with Mr Christopher (here called Miss and is considered a woman) and the episode starts with her being found strangled, stabbed and with a python around her neck in the magician’s vanishing cabinet (overkill as Phryne calls it) during the circus Farrell’s show and not in his bed at the boarding house where he lives in the book. Not pleased with Senior Sergeant Grossmith who has been assigned to the case, Phryne’s old friend Samson(Sam) seeks Phryne out to try getting her to help. For once, Phryne is rather reluctant to go back to Farrell’s since it was there that her little sister Jane disappeared while Phryne was too caught up in the magician perform a vanishing act in the same cabinet (at least I think it is) that Miss Christopher is found dead in. 

Jack and Elsie share a moment.

The TV episode is not one of my favourites. It is quite messy and it is not made clear exactly who made what and why. However Elsie Tizzard is probably my absolute favourite among the minor characters. I love her special relationship with Jack, but also how she bonds with Amelia Parkes in the cell. The latter is just one of all the amazing depictions of female friendships that we can see throughout both TV and book series.

Another aspect I really enjoy as an archaeologist is how they have used how memories (even unwelcome ones) are triggered by materialities. Phryne is extremely reluctant to go (back) to Farrell's circus to investigate and it is not until Jack (for once) gives her a definite no that she agrees to Samson's request and takes on the case. When she gets to the circus, the memories become even more prominent and we get much longer flashbacks with Jane and Phryne at the circus. Correct me if I am wrong, but I also think this is the first time we really get to see Janey Fisher's blue ribbons.

We have seen Phryne vulnerable before, but the memories of Jane are humbling in a new way. They seem to give her new insights into what happened to her sister and the episode itself sort of works much more as a build-up to the two that follows it.

'Tonight you shall share my luxury', she said, pulling off the dress and the scarf and shedding battered undergarments, 'because tomorrow I shall share your poverty.'

~ Kerry Greenwood, Blood and circuses (book) 

Phryne and Samson

In the book, Phryne goes through an even more humbling journey. She is forced to leave her luxurious lifetotally behind as she goes undercover as Fern Williams, the trick rider at the circus. Like Peter Smith, the anarchist, does in the Death at Victoria Dock book, Mr Burton questions what she does at the circus and Phryne gives him a similar answer that she is tired of being said not to understand or being able to manage a more simple life because of her otherwise privileged lifestyle. Because the Janey Fisher/Murdoch Foyle plot was made up for the TV show, the circus does not provoke as many bad memories for Phryne as in the TV show, but it does turn out to be a very hostile environment.

Little Phryne and her sister Jane in one of the flashbacks.

Like the TV episode, the book works a lot with materialities, but instead of connecting them to memores, it connects them to Phryne's self-esteem and confidence in a way that had me thinking of the song Wig in a Box from the musical Hedwig and the Angry Inch.

The musical is about trangendered Hedwig who goes through sex reassignment therapy, but the surgery goes terribly wrong and she is left with an "angry inch" and in a state of not belonging to either of the binary sex/gender construction that is still considered norm in today's Western society. As you might understand, this can in many ways be related to the transgender theme of both book and TV episode (In the TV episode, we even get to know that Miss Christopher pays a surgeon to have her "additional appendage" removed.), but in many ways it can also be related to Phryne as a character.

Kerry Greenwood made a cameo at the circus in this episode.

As I have said before, I do not like the comparisson of Phryne to James Bond. I actually find it a bit degrading of her character. Phryne is so much more than just a female version of the action male archetype. Yes, she is wild, adventurous and reckless, active in every scene she is in (traditionally male traits), but she is also empathetic, compassionate and kind (traditionally female traits). She does not show many emotions (male trait), but she is sensitive to other people's needs (female trait). (I admit the latter does not always apply to Jack, but in that case it has much more to do with him not behaving like a traditional male way.) She is cunning and clever (male traits), but also flirty and seductive (female traits). She also uses violence and reacts to it in a very different way than Bond (or for that matter Indiana Jones who she is also compared to). Even though she often brings her golden pistol with pearl handle and has a dagger in her garther, she does not use them other than when it is totally necessary to save herself or others. I agree that her wild, reckless and sexual side is far more conspicuous, but I think we more should ask ourself why that is instead of only calling her a female James Bond/Indiana Jones.

Her overall apparence is also totally female with her beautiful, often very feminine clothes, hats and red lipstick. This is also where the relation to Hedwig and the song Wig in a box becomes most apparent. Like Hedwig, Phryne has a dark past which has been made clear at this point in the TV series, but not in the books, so I will leave it until it is brought up. Both of them also hits rock bottom, but they decide to turn their life over and they both sort of find exuberance in fashion. This is also how the book points to the material aspect of Phryne's identity and how important it is to her.

She was feeling of balance. Deprived of her usual props and stays and allies, and having to speak with the accent of her childhoo, she was losing confidence. No one seemed to like her, and she was used to being liked, or at least noticed. She closed her eyes.

~ Kerry Greenwood, Blood and Circuses (book)

Jane asks Samson for stories about Phryne.

In a way the circus makes her time-travel back to her childhood in poverty in Collingwood, leaving her feeling self-concious and lonely. When the clown Matthias/Jo Jo does her make up for her performance in the circus show, she does no longer recognise her face, seeing only a stranger in the mirror.

But again it is a material object that destroys her identity all together. When she is discovered by Jones and his men and they are about to rape and kill her, they take away both her clothes and the belonings she has hidden underneath and inside them. Among those is the St Christopher medal Dot gave her right before she was leaving her home.

She made no sound until he broke the thong which held the holy medal and pocketed it. Phryne gave a pitiful cry. Her last link with her own self was gone.
~ Kerry Greenwood, Blood and Circuses (book)

The medal triggers a basic instinct inside of Phryne, making her fight the men. Because she is no simple "damsel in distress", she manages to avoid rape, but she does not win her freedom. Instead Jones and his men locks her in an animal case calling her a "wild beast".

This is actually not the first time in the book where humans have been compared to other animals.This is actually a theme also woven into the plot. Trapped in the animal cage and naked, Phryne's identity travels even further back in time (The mentioning of her friendship to the archaeologist being extremely fitting in all of this). Her fear of the lions was established already as Dulcie showed her around the circus and is already then said to enhance a primitive version of herself. She, however, remains quite active, trying to get herself out. In the end though, she realises she might need help from a friend or two. Humans are, after all living in hoards by nature...

Kerry Greenwood - Blood and Circuses

I think this is my favourite among the
art deco-inspired covers.

Blood and Circuses is the sixth installment in the book series about Phryne Fisher by Kerry Greenwood and they just keeps getting better and better. The plot surrounds Farrell´s Circus where a lot of things seem to have gone wrong lately. The latest "mishappening" is the murder of the circus artist Mr Christopher. Some old friends from the carnival following the circus, turn up at Phryne's door to have her investigate what is really going on over at Farrell's. Phryne therefore decides to go under cover as the trick rider Fern Williams.

The circus was vast and bewildering. The number of people who might want to destroy it was unknown and it seemed impossible to keep tabs on everyone. Phryne was concious of being alone in shabby clothes and completely ignorant. You've bitten of more than you can chew this time Phryne, she thought. You'll never make any sense out of this. 
'To understand a circus', she added alound, stepping sideways to avoid a passing camel, 'you obviously have to be born in a trunk.'
'Too right', agreed Dulcie.

At the same time, detective inspector Jack Robinson starts looking into the murder of Mr Christopher together with sergeant Grossmith and constable Tommy Harris. The latter is saved by Amelia Parkes, one of the women living at the same boarding house as Mr Christopher. She has a dark past and is therefore accused of the murder almoste immediately. But things is never as it seems at first.

There really is a lot to talk about here. Not least identity issues due to the victim being androgyne. But since my thoughts about identities to a great proportion involves Phryne to a great extent, I have decided to leave it for my TV vs Book post about Blood and Circuses.

Essie is very beautiful and all, but why not
use a picture from the TV episode with
Phryne dressed as Fern?

Instead, for this entry, I have decided to talk about the, sort of new world, Phryne gets herself into when she goes under cover as the trick rider Fern.

The title is an sort of paraphrase of an expression coined by the Roman poet Decimus Junius Juvenalis panem et circenses (Bread and Circuses - Bröd och skådespel in Swedish). He was not pleased with the decadence of the Roman Empire claiming the politicians kept the population at bay by feeding and entertaining them. It was during this time that emperor Vespasian made the Colosseum, which probably added more argument to Juvenalis proclaim that the distribution of cereals, the spectacles and the gladiator games all was just a trick to have the lower classes thinking about other things than social issues.

The circus in Kerry Greenwood's book however is the modern type which originated in 18th century London where Philip Astley held shows which mainly featured riders doing advanced tricks on horses.

Interestingly, Astley had discovered that a circular shaped stage (the ring) had several benefits. Not only could you get a bigger audience because they were able to surround the stage in stead of just sitting on one side of it. It also proved to help with the horse tricks. The ring helped the horses to gain speed because they could keep going around and around instead of having to slow down to turn every once in a while. This created the centripetal force which helped the riders to stay on.

In Sweden, the history of the circus phenomena can only be traced back to the early 1900s, but there had been travelling menageries before that. Among the artists were often families belonging to the Norwegian and  Swedish Travellers.

I really enjoyed how elaborative Greenwood's description of the circus was. Instead of just writing that  Dulcie shows Phryne/Fern the circus, we are actually getting to follow them around, meeting the people and the animals there.

The circus is described as a society in its own with its own social hierarchy: circus folks-carnies-gypsies*. Among the circus folks there are also a smaller social hierarchy with flyers being seen as the nobility and the others pretty much as simple peasants according to the dwarf* Mr Burton.

'You were at Oxford University?' squeaked Phryne. 'Then what are you doing in Farrell's'
'Where else could my... deformities be valuable? Everywhere else I am a freak. Here I am still a freak but I am a performer. Circuses are the only places where dwarves can get some respect.'

The fact that people who deviated from one or many of the societal norms were more or less forced to be performers at the circus are actually rather terrible. I had encounter it before in history books and in other forms of popular culture, for example Phantom of the Opera, but I still feel terrified by the view on humanity that society had.

I think the Phryne Fisher books just keeps getting better and better. It had a slow, somewhat boring start, but then it really hit of and even though I sort of figured out who did what somewhere in the middle, it did not really matter. And I love that Phryne has a friend who's an archaeologist.

The photo of the Essie Davis cover of the book was borrowed here.
*I know it is preferable to use other terms than these, but they were the ones used during the 1920's which is probably the reason why Kerry Greenwood