Not only do these stories all too often so beautifully named as Cult – they are now classics and have just come out as such at Bonnier Carlsen.
They are very stylish! And lovely to feel and browse besides they are substantial reading for new and young adults. I am happy and proud that Bonnier Carlsen has invested in this new edition, it is fashioned in today, so I hope there are many who buy the books for theirs. In libraries, I know that they are often missed, worn out and stolen, according to what I've been told.
I take historen again:
I did not write the books first TV series since then but it tends to be, and most often it is also so printed in writing! Ack nej! I first wrote Didrik as a summer holiday theater 1985. My future husband, who was then my boyfriend, directed it, and it was our first collaboration. I was with my father when the five parts were sent to P 3 in the mornings and I just remember how we sat in the morning light that filtered through the curtain and listened, Dad chuckled in his special way, and I sat with her knees under her chin and listened concentrated and fnittrigt. I remember the signature, understood Anders Melander wrote – He wrote all the music for Peter productions ( and many of the National Theater's hit ) and how it worked out in such an incredibly irritating way. Then the P3 theater wanted a sequel the following year and I wrote about Didrik's beaky little sister Ebba. At that time, it was only old ladies and Ebba Witt Brattström named Ebba. A year after that featured Peter scripts for television, but they were not the least bit interested, did not come even once – that nonchalance already existed then! But then we got it on SVT Drama and it was perfect. There was a playwright who wanted to playwright it to our horror but we managed to prevent it so that the story could be as we wanted, as I had written it and did not need to be adapted to any idea or smoothed out.
So it was played in the spring 1988 and in the autumn and in the middle of summer, I became mother and Peter's father! Jaha, and while our baby was sleeping, I split the story again and wrote Didrik and Ebba, which then in book form, is two and not intertwined, Thus, a little different than the series. Then I had the same jättebraiga editor that I have now at Albert Bonnier, when I write one in all ways completely different story that requires imagination, but only experience.
With the backlash was such that we had puttats from SVT Drama in Stockholm despite Peters all achievements ( I had one, but he had several ) because he refused to be YES- tellers and the then head in his own words said that she must ” blacklist” him. He never got more work at SVT Drama. The little family lost security and ended in Gothenburg where another manager, Steen Priwin, stood ready, which also had in Malmö when the rumor was that we could not continue working in Stockholm ( freelance ) And Steen Priwin was wonderful to me as a writer. Han litade på mig – did not try to steer my writing. First I wrote THE LADY IN THE GLOVE DISK directly for Gerd Hegnell and I wrote it before we moved to Gothenburg, in a small room up at the peasant who had Erling, the bull that I wrote about in the last blog and I was expecting my second child. I remember exactly what it smelled like. THE LADY IN THE GLOVE DISK was a so-called single in an hour and it has never been repeated and now they have removed it from the Open Archive, but strangely, it has made an impression, for all too often I meet people who tell me how good they felt it was. It was well a recognition of this that one must hold its facade and that loneliness is shame.
After that we moved to Gothenburg where Peter had a job at the Folkteatern and Steen wanted ci to do more things. He asked what I wanted to write now.( he did not come up with a proposal that I have to pitch as is often the case today – The idea came from me instead, pretty good when you are dealing with writers that they can burn their own ideas and not to lead to fill slotar and count the audience ) I already had before I met Peter thought that one day I would write a series about girls. Then I did not even know I could write at all, but the first idea was already, even a couple of scenes. I wanted to write a series about young girls who were NOT self-destructive, disheartened, bittra, humorless and drowned already as teenagers – as young girls were portrayed on TV and film – as if they had no desire, mod, styrka, future, playfulness and aspirations but about girls who were full of courage, lust, forward movement and power but which clashed with the culture we have and which like all of the female sex must be forced to tampas with, the independent and free they think they have the right to be. Ella took up battle, Josefin put herself under the knife. You are welcome, skriv, sa Steen, and gave me a private room on the television house and regretted that he was not in person could fit the children who constantly was sick but must chefa – and there was no playwright where the eye reached- pust! – and Peter directed. It took six months to find the young people who played the roles this time as well, among others, Julia Dufvenius and Katharina Cohen and even Johan Hilton as a few decades later became my publisher when I wrote DENZEL, before he went to DN Atlas. Roligt. Fun with circles that go into each other.
While the gap was cut, I wrote the book The gap, but there was no straightforward way. First I had contracted at a publishing house but ended up in endless and hopeless discussions were split with the publisher who thought the story could be about this, but young people need to talk about the world situation and instead I have to enter the hose ( alltså… from hose 97 – how has it been like today? ) and profanity, Moreover, it should be much more fylle and six ” so readers recognize themselves”. I was angry.
I try to, if there is an object of the, clear my stories from just above. I write on purpose a rather pure language, precisely because it is so terribly super ridiculous when adults should try to sound like they think young people sound when they talk to each other, except that it is quickly out of date. Embarrassing. In addition, I like the language and I think it's a shame to dilute with a poor language full of swear words when there are other words to use. The poor language one can do when talking in reality but a book is a book and a drama is a drama – it is not documentary! And I was miserably sick of how biased and flat youth was depicted, and thought absolutely not do what he wanted, so we broke the mutual contract.
What joy, I came back to Bonniers where Ebba and Didrik lay, and found the wonderful publisher and editor Annika Lund Berg. She read my script and said
”SITTING ON A TREASURE!” and could not understand how the second publisher had not taken it without trying to impose on me their stupid ideas. Annika was also my editor at Thousand Times Stronger, later.
The book came out around the same time as the series premiered 1997. But then I wrote a couple of adult novels ( without swearing but with sex but sex with a thought behind ) at Piratförlaget and they bought up Glappet but since a while back Glappet is back at Bonniers and everything is now peace and joy and
BOOKS IS OUT!
Och som sagt; Stylish and cozy to hold, as well as the top sides.
here you go! Refresh library now and have a nice weekend!
