Gunnar Ekelöf

Gunnar Ekelöf has been called Sweden's first surrealist poet. He made his debut with the collection sent på jorden ("late on earth") in 1932, written during an extended stay in Paris in 1929–1930, which was too unconventional to become widely appreciated and described by its author as capturing a period of suicidal thoughts and apocalyptic moods.[1] It was in a sense an act of literary revolt akin to Edith Södergran's Septemberlyran of a dozen years earlier. While not disavowing his debut, Ekelöf moved towards romanticism and received better reviews for his second poetry collection, Dedikation (1934). Both the volumes are influenced by surrealism and show a violent, at times feverish torrent of images, deliberate breakdown of ordered syntax and traditional poetic language and a defiant spirit bordering on anarchism ("cut your belly cut your belly and don't think of any tomorrow" runs the black humorous refrain of a poem called "fanfare" in sent på jorden; a collection that eschews capital letters). This defiant externalism was grounded in his person. Though he came from an upper-class background, Ekelöf had never felt committed to it – his father had been mentally ill and when his mother remarried, Ekelöf strongly disapproved of his stepfather, and by extension of his mother; he had become a loner and a rebel by his teens and would never feel at ease with the mores of the established upper and middle classes or with their inhibitions and what he perceived as their hypocrisy and back-scratching.

Swedish critic Anders Olsson described Ekelöf's turn to poetry as a choice of "the only utterance that doesn't expurge the contradictions and empty spaces of language and of the mind."[2]

Färjesång (1941), a finely expressed blend of romanticism, surrealism, and the dark clouds of the ongoing Second World War spelled a mark of maturity and would influence later Swedish poets, as would Ekelöf's debut over time. From this point on, his transformations of style and imagery, his deep familiarity with a wide array of literary idioms, stretching far beyond modern writing, and an almost Bob Dylan-like propensity to make fresh departures in his writing and challenge critics' readings of his work in order to keep true to it, made him one of the most influential and, in time, widely read of Scandinavian modernist poets, a kind of father figure and challenging and inspiring model for many later writers not just in Sweden but also in Denmark and Norway. He has been translated into many languages and is a classic of 20th-century Swedish poetry.

He is remembered as one of the first Surrealist poets of Sweden.

On the 103rd anniversary of his birth, 40 Swedish poetry enthusiasts gathered in Salihli, Turkey. Together with the deputy mayor they honored Ekelöfs legacy in the city, which he came to admire ardently on a visit in 1965 and portrayed in several poems. In his will he expressed his wish to be cremated and his ashes spread over the Sard stream in Salihli. A bust of Ekelöf by Gürdal Duyar was to have been placed there, but this was never done and it now waits in the garden of the Swedish Embassy in Istanbul.[3][4][5]

Ekelöf made some substantial re-edits of the text and sequence of poems in later collected editions and anthologies of his work, especially relating to his 1930s books.

• Nationalencyklopedin (2004). Gunnar Ekelöf.

• The Gunnar Ekelöf society homepage (in Swedish)
• Petri Liukkonen. "Gunnar Ekelöf". Books and Writers