This modern spin on the myth of Athena plunges us deep inside the mind of an unlikely twelve-year-old goddess confined to a small Swedish town. Separated from her father just moments after bursting from his skull in full armor, Anna is packed off into foster care where she learns to ski, speaks in tongues, and negotiates the needs of a quirky cast of relatives. Unable to overcome her father’s absence, however, she finally succumbs to depression and is institutionalized. Anna’s rallying war cry rings out across the pages of this concise and piercing novel as a passionate appeal for belonging taken to its emotional extreme.
12 February, 2015
1) What is your interpretation of the opening scene in which the girl splits her father’s head?
2) What was your reading experience? Did you find it an easy book to read? Why? What did you like about it most?
3) Could you identify with the protagonist or did she feel distant/alien to you? How would you characterize her?
4) How would you define the relationship she had with her father?
5) What do you think about the foster family in the book? Did they take good care of her?
6) What do you think about the speaking in tongues section; how do you think she manages to do it?
7) What do you think of the way she is treated in the mental institution; do they help her or make things worse?
8) What is your impression of the boy in the family who comes to visit her there?
9) Why do you think the girl speaks so little?
10) Have you ever experienced depression in someone close to you? Do you think the way the author describes it from the inside is realistic?
‘The emotional intensity created by Boström Knausgård recalls Sylvia Plath, but her spare, accelerating modern myth owes something to the poet/classicist Anne Carson’s novels in verse. This novella cannot be read quickly, its psychological range and febrile prose demand attentiveness. It takes skill and imagination to describe extreme emotions in ways to which everybody can relate but that’s what Boström Knausgård achieves in this short, piercing book.’
‘This intriguing, lyrical novel is a powerful portrait of mental illness.’
Times Literary Supplement
‘The story is tightly, cleverly organized around a central idea: to show how Anna’s perceptive, disturbed mind struggles to impose some kind of mental order and, finally, fails. The author’s passionate involvement with her protagonist illuminates what it is like to slide irresistibly away from reality.’
Swedish Book Review
‘Linda Boström Knausgård’s style is magical, hallucinatory, and very poetic. Passionate, refined, and as clear as cool water.’
‘The strangeness, originality, and supreme gentleness of the narrator’s inner world contrast sharply with the more recognizable, though not in all respects ordinary world into which she is forced. This, combined with her quiet determination to find her father and the increasingly astonishing events that occur, all add up to form a surprisingly modern portrait of longing and the possibility of homecoming.’
‘The Helios Disaster is a story about longing for a father and about prepubescence. About the will to die, refusal, and a sun shining far too brightly. But in this field of tension there is also a simple happiness. Boström Knausgård’s authorship keeps getting better and better.’
‘It is simple and it is grand, a story about a girl who came too close to the sun. The Helios Disaster shines!’
Kulturnytt i P1, Sveriges Radio (Swedish Public Radio)
‘The Helios Disaster is an insightful story about mental illness and missing a father. Linda Boström Knausgård manages to fill the rather monotonous hospital existence with a tension so powerful and poetic that one is actually quite taken by it and reads it without missing a single detail.’
‘The Helios Disaster is a dense, tender, painful novel written in a prose which, always poetic, touches, shakes, and makes a mess.’
‘Chosen for the unsentimental language of her portrayal of human existence on the border between a world distorted by psychosis and reality’s structured existence. Her stories are written according to the logic of myths, never asking why, but allowing an understanding of ourselves that is difficult to be determined in the dominant categories.’
JURY, MARE KANDRE PRIZE