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Maria Gripe
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Maria Gripe, born Maja Stina Walter (25 July 1923 – 5 April 2007), was a Swedish author of books for children and young adults, which were often written in magical and mystical tone. She has written almost forty books, with many of her characters presented in short series of three or four books (e.g., the Hugo and Josephine books, the Shadow series, and the titles about Lotten).[1] For her lasting contribution to children's literature, she received the Hans Christian Andersen Medal for Writing in 1974.[2][3]
Key Information
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Biography
[edit]Maja Stina Walter was born in Vaxholm, Uppland, Sweden. When Maria was six, her family moved from Vaxholm to Örebro. They moved again to Stockholm for her secondary schooling and studies at Stockholm University.
In 1946 she married the artist Harald Gripe, who created cover illustrations for most of her books. His illustration career, in fact, began in connection with his wife's debut as the author of I vår lilla stad ("In our little town"). Maria Gripe's first major success was Josephine (1961), the first of a series of novels that later included Hugo and Josephine and Hugo.
During most of her adult life, Maria Gripe lived in Nyköping, where an adaptation of her book Agnes Cecilia was filmed. After a long period of dementia, Maria Gripe died at 83 in a nursing home in Rönninge outside Stockholm; her husband Harald had predeceased her by 15 years. Their daughter Camilla Gripe is also a children's author.
Writing style
[edit]Much of her writing, particularly the later work, is suffused with a supernatural or mystical element. Fairy-tales were recurring motifs and these were often intertwined with psychological realism presented in a poetic style.[4] The change in her writing style from her less mature work was partly a result of the influence of Edgar Allan Poe, Charlotte and Emily Brontë, and Carl Jonas Love Almquist, and partly a reaction to violence in entertainment that had begun to gain ground in cultural expression; Gripe sought to manufacture plot tension in less overt ways.
A prominent feature of Maria Gripe's writing is a respect for individuals and their unique characteristics, a trait which is especially perceptible in the social realism of the Elvis series, which she co-wrote with her husband Harald in the 1970s.[5]
Another recurring leitmotif in Gripe's books is shadow, particularly in the series which began with Skuggan över stenbänken ("The shadow on the stone bench", 1982).[6]
Books in English translation
[edit]- Josephine (Josefin, 1961)
- Hugo and Josephine (Hugo och Josefin, 1962)
- Pappa Pellerin's Daughter (Pappa Pellerins dotter, 1963)
- The Glassblower's Children (Glasblåsarns barn, 1964)
- In the Time of the Bells (I klockornas tid, 1965)
- Hugo (Hugo, 1966)
- The Land Beyond (Landet utanför, 1967)
- The Night Daddy (Nattpappan, 1968)
- Julia's House (Julias hus och nattpappan, 1971)
- Elvis and his Secret (Elvis Karlsson, 1972)
- Elvis and his Friends (Elvis! Elvis!, 1973)
- The Green Coat (...ellen, dellen..., 1974)
- Agnes Cecilia (Agnes Cecilia – en sällsam historia, 1981)
Adaptations and translations
[edit]Gripe wrote 38 books, translated into 30 different languages, making her one of Sweden's most prolific writers. Her last published book was Annas blomma ("Anna's Flower", 1997). Several of Gripe's books have been filmed, such as Glasblåsarns barn ("The Glassblower's Children") and Agnes Cecilia - en sällsam historia ("Agnes Cecilia: a singular history"), directed by Anders Grönros in the 1990s. In 1967, Kjell Grede directed Hugo and Josephine, considered the first Swedish children's film, which received critical acclaim for its artistic value as well as for the story itself.[7] In 1976, Kay Pollak also filmed Elvis! Elvis! (Elvis and his friends), which Gripe co-wrote with him after his serial The Secret Reality made a profound impression on the author.[7] There is also Marianne Ahrne who directed the 1989 television series Flickan vid stenbänken ("The girl by the stone bench", based on the "Shadow" series).[5]
Dramatized versions of Tordyveln flyger i skymningen ("The scarab flies at dusk") and Agnes Cecilia were produced as radio serials, and an audio version of Tanten ("The elderly lady"), narrated by Margaretha Krook, was also recorded for radio. Gripe also wrote the original Swedish television script for Trolltider ("Magic Time", 1979).[5]
Recognition for Gripe's work
[edit]The biennial Hans Christian Andersen Award conferred by the International Board on Books for Young People is the highest recognition available to a writer or illustrator of children's books. Gripe received the writing award in 1974.[2][3]
Stockholm University Literature professor Boel Westin praised Maria Gripe to a writer for Svenska Dagbladet, declaring that her Shadow books presented an exciting narrative that enabled readers to feel as if they were participants: "She has meant a lot. She renewed children's prose."[5]
Literary researcher Ying Toijer-Nilsson, who wrote a biography Skuggornas förtrogna ("Confidant to shadows") of the author, echoed the remarks, saying that she would miss "the warm and humorous human being who was Maria Gripe." The biographer continued: "She has done a lot for the children's book world, and she got her readers to think about philosophy, about the world and about death." Toijer-Nilsson pointed out that Gripe's books also have "a significant tendency to support the social advancement of women."[5]
Her books have won many awards. She was the first recipient of Expressens Heffaklump in 1966. She was the 1979 Swedish winner of the Dobloug Prize for Swedish and Norwegian fiction. In 1985 she was awarded the Nordic Children's Book Prize.[clarification needed] Gripe's publisher Bonnier Carlsen established the Maria Gripe Prize in 2005, which is a literary prize awarded annually.[8][4]
See also
[edit]
References
[edit]- ^ Haase, Donald (2008). The Greenwood Encyclopedia of Folktales and Fairy Tales: G-P. Westport, CT: Greenwood Press. pp. 433. ISBN 9780313334412.
- ^ a b "Hans Christian Andersen Awards". International Board on Books for Young People (IBBY). Retrieved 1 August 2013.
- ^ a b
"Maria Gripe" (pp. 50–51, by Sus Rostrup).
The Hans Christian Andersen Awards, 1956–2002. IBBY. Gyldendal. 2002. Hosted by Austrian Literature Online. Retrieved 2013-08-01. - ^ a b Duggan, Anne; Haase, Donald; Callow, Helen (2016). Folktales and Fairy Tales: Traditions and Texts from around the World, 2nd Edition. Santa Barbara, CA: ABC-CLIO. p. 436. ISBN 9781610692540.
- ^ a b c d e "Maria Gripe har avlidit" ("Maria Gripe has died"), a April 2007, Svenska Dagbladet. Retrieved 3 August 2011.
- ^ Ingrid Nettervik, I barnbokens värld ("In the children's book world", Malmö: Gleerup, 1994. ISBN 91-40-63795-6.
- ^ a b Neiiendam, Jacob (2005). The Cinema of Scandinavia. London: Wallflower Pres. pp. 172. ISBN 1904764231.
- ^ "Gripe, Maria – Illustrator presentation page". bonnierrights.se. Retrieved 27 September 2018.
Further reading
[edit]External links
[edit]- Maria Gripe at IMDb
- Maria Gripe at the Swedish Film Database
- Maria Gripe at Library of Congress, with 38 library catalogue records
- Harald Gripe at LC Authorities and at WorldCat
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Maria Gripe
View on GrokipediaEarly life and education
Birth and family background
Maria Gripe was born Maria Kristina Walter on July 25, 1923, in Vaxholm, Sweden. [1] She was the eldest daughter of Karl Hugo Walter, an infantry captain and restorer, and Maria Eleonora Walter (née Abrahamsén). [1] Gripe had two siblings: a brother named John Hugo Walter and a sister named Brita. [1] During her youngest years, the family lived at the Oscar-Fredriksborg fortress in Vaxholm. [1] The family moved to Örebro in 1928. [1]Childhood, education, and early interests
Maria Gripe moved to Örebro in 1928. [1] There she attended a girls' school (flickskola). [4] She later completed her upper-secondary education at Stockholms Enskilda Gymnasium in Stockholm, earning her studentexamen in 1943. [4] From 1944 to 1945, she studied the history of religions and philosophy at Stockholms högskola. [4] Her interest in writing emerged early, as several short stories were published in children's magazines prior to her literary debut. [4] These initial publications reflected her developing inclination toward storytelling, particularly for young readers, setting the foundation for her later career in children's literature. [4]Personal life
Marriage to Harald Gripe
Maria Gripe married the artist Harald Gripe in 1946. [1] [5] Harald Gripe illustrated most of her books, supplying cover art and internal illustrations throughout her career, a collaboration that began in connection with her writing. [1] [6] [5] After her marriage, while the couple lived in Traneberg, she worked briefly as an office clerk at the Marinförvaltningen (Royal Swedish Naval Administration) in Stockholm. [1] Following the birth of her daughter in 1947, she became a housewife. [1] Their professional partnership remained central to her work, and they shared awards including Litteraturfrämjandets stora pris in 1982. [1]Family and residences
Maria Gripe gave birth to her daughter Camilla in 1947, after which she became a housewife in Stockholm.[1] The family initially resided in Traneberg, a district in Stockholm.[7] A few years later, they relocated to Nyköping, which became their primary family home and where Maria spent most of her adult life.[1][8] Her debut children's book, I vår lilla stad (1954), originated from bedtime fairy tales she created centered on her young daughter's toys.[1] Her husband Harald Gripe illustrated the book.[1] Camilla Gripe later became a writer and translator herself.[8]Death
Maria Gripe died on 5 April 2007 at a nursing home in Rönninge, near Stockholm, Sweden, after a lengthy illness lasting several years.[9][1] She passed away peacefully that morning on Maundy Thursday, having spent her final years in care at the facility in Rönninge.[9][1] Her publisher at Bonnier Carlsen, Annika Lundeberg, reported that Gripe "fell asleep peacefully" and that her long illness meant the death was not entirely unexpected.[9][10]Literary career
Debut and early books
Maria Gripe made her literary debut in 1954 with the children's book I vår lilla stad, which originated as bedtime fairy tales she told her daughter Camilla centered on the girl's toys. [1] This work marked her entry into publishing for children and drew directly from her family life during her time as a housewife. [1] Between 1954 and 1960, Gripe published a total of eight books, which are regarded as precursors to her later, more distinctive authorship. [1] Many of the themes and motifs that would come to define her mature writing—such as shadows, mirrors, and names laden with significance in relation to identity and self-awareness—can already be discerned in these early works. [1] Her publications during this period primarily consisted of children's stories and fairy tales, establishing the foundation for her contributions to Swedish children's literature. [1]Breakthrough and Josefin trilogy
Maria Gripe achieved her literary breakthrough with the publication of Josefin in 1961, which marked the beginning of the Josefin trilogy and established her as a major voice in Swedish children's literature. [1] [2] The trilogy, comprising Josefin (1961), Hugo och Josefin (1962), and Hugo (1966), centers on the lonely and imaginative girl Josefin and her friendship with the boy Hugo, portraying everyday life through the children's empathic and psychologically nuanced perspective. [1] These works introduced a new form of psychological realism to Swedish children's books, emphasizing the child's inner world and experiences in contrast to the often uncomprehending adult environment. [1] The trilogy's focal point is the encounter between the imaginative child and an adult world that frequently misunderstands or restricts them, while also exploring themes of identity, individuality, integrity, and belonging. [1] This approach represented a significant shift, as the books depicted children's lives with empathy and realism, making the child's viewpoint central to critiquing adult society. [2] The series quickly gained recognition for its depth and literary quality, contributing to Gripe's growing reputation during the 1960s. [3] In the years following the trilogy, Gripe published several other notable books that continued to develop her distinctive style. These include Pappa Pellerins dotter (1963), a contemporary story of a lonely and headstrong girl; Glasblåsarns barn (1964) and I klockornas tid (1965), which incorporated more mythical elements while maintaining the focus on individual freedom and self-realization; Nattpappan (1968); and Glastunneln (1969), her first book explicitly aimed at young adults. [1] [2] [3] Across these works, Gripe consistently portrayed existence from the vulnerable child's perspective, using it to expose and reproach limitations imposed by the adult world. [2]Elvis Karlsson series
Maria Gripe's Elvis Karlsson series dominated her literary production during the 1970s and focused on the experiences of the thoughtful and independent boy Elvis Karlsson. [1] The series proper began with Elvis Karlsson (1972), followed by Elvis! Elvis! (1973), Den “riktiga” Elvis (1976), and Att vara Elvis (1977). [11] These books portray Elvis as a serious-minded six-year-old with a rich imagination who feels unable to live up to his parents' expectations and finds himself at odds with the uncomprehending adult world. [1] [12] He receives support from his loving grandmother and friends such as Peter, which helps him begin to view his circumstances in a new light. [12] The series pushes the child's perspective further than Gripe's earlier works, emphasizing the clash between a sensitive child's inner world and the limitations of adults. [1] The name "Elvis" functions as a metaphor for the protagonist's isolation and non-belonging, underscoring his existential loneliness. [11] A prominent and controversial element was the negative portrayal of Elvis's mother as a self-absorbed woman trapped in patterns she cannot understand or escape, depicted as both horrid and pitiful in a way that highlighted adult foolishness and power imbalances. [1] [11] This depiction generated significant attention and debate upon publication. [1] In addition to the Elvis books, Gripe's other output in the 1970s included Tordyveln flyger i skymningen (1978), which originated as a radio series in 1976. [1]Later novels and series
In her later career, Maria Gripe shifted toward more intricate narratives blending mystery, psychological depth, and supernatural elements. Agnes Cecilia – en sällsam historia (1981) stands out as a pivotal work in this phase, presenting a haunting tale of a young girl who encounters mysterious phenomena in an old house while grappling with family secrets and grief. She followed with the Skuggan series, a quartet of novels that explore themes of fear, hidden truths, and the unseen. The series began with Skuggan över stenbänken (1982), where a child confronts ominous shadows tied to family history, and continued with …och de vita skuggorna i skogen (1984), Skuggornas barn (1986), and Skugg-gömman (1988). These books are noted for their atmospheric suspense and nuanced portrayal of children's inner worlds facing the uncanny. In the 1990s, Gripe published a final trilogy: Tre trappor upp med hiss (1991), Eget rum (1992), and Egna världar (1994). These works focus on adolescent experiences of autonomy, creativity, and self-discovery, often through introspective characters navigating personal boundaries and imagination. Her last published book was Annas blomma (1997), a reflective story that rounded out her oeuvre with gentle explorations of memory and loss.Writing style and themes
Maria Gripe's literature is distinguished by its psychological realism and a persistent child's perspective that often critiques the adult world through portrayals of lonely, sensitive protagonists confronting self-absorbed or absent parents and the unbridgeable experiential gap between children and adults.[13] Children in her stories frequently interpret adult language literally while adults overanalyze their responses, underscoring moral, social, and existential tensions even as the two worlds remain closely interconnected.[13] This viewpoint highlights children's emotional isolation and their need to seek guidance and models for living beyond the family unit, such as from gardeners or other non-parental figures.[13] Central themes in Gripe's oeuvre revolve around identity formation and self-realization, often complicated by external expectations and projections.[13] Her protagonists undertake quests to understand themselves amid stressful situations, with the power of names emerging as a key motif in shaping individuality and belonging.[14] Boundaries between the real and the mythological blur through symbolic elements, such as the prominent motif of shadows in her later works, and an increasing mysticism that integrates supernatural atmospheres with everyday emotional realities.[14] Gripe's style evolved from a more poetic mode in her early works of the 1960s to greater emphasis on suspense, mystery, and mystical elements in the 1980s and 1990s, blending fairy-tale qualities with precise psychological studies and thrilling narratives built without reliance on violence.[14] She drew inspiration from Gothic and romantic traditions, particularly writers like Edgar Allan Poe and the Brontë sisters, whose influence appears in her atmospheric and introspective approach.[14] Her narratives articulate a child's unselfconscious yet precocious inner world without resorting to childish language, maintaining a dual adult-child conception of reality that combines fragmented facts with imaginative constructions.[13]Awards and recognition
Several of Maria Gripe's books have been adapted for film, television, and radio. Notable film adaptations include:- Hugo och Josefin (1967), directed by Kjell Grede, based on her Hugo and Josefin trilogy.[1]
- Elvis! Elvis! (1977), directed by Kay Pollak, based on the Elvis Karlsson series.[1]
- Agnes Cecilia - en sällsam historia (1991), directed by Anders Grönros, based on her 1981 novel.[15]
- Glasblåsarns barn (The Glassblower's Children, 1998), directed by Anders Grönros, based on her 1964 novel.[1]