Crimson – Niviaq Korneliussen (2014, trans. Anna Halager, 2018) 175 pages
Unfortunately, I think I might be a bit too old for this novella. My twenties were a lot of fun and a lot of stress; I have colleagues in their twenties and I enjoy their company but I’ve absolutely no desire to recapture or relive that time. So Crimson’s tales of five Greenlandic twentysomethings getting drunk, sleeping around, falling in and out of love and desperately trying to work out who they are held my attention, but didn’t really engage me beyond that.
Each section focuses on a different character. Fia is repulsed by her boyfriend’s penis and dumps him, but it is only when she sees Sara that she admits she is attracted to women.
“ ‘It’s over’ were my final words.
Then, just like that, I was free.
But the word ‘free’ didn’t bring with it ‘relief’.”
Instead Fia finds herself in the bewildering situation of living temporarily with her brother’s best friend, and trying to manage her feelings for Sara, who has a partner.
Inuk is Fia’s brother. He feels stifled by his home and flees to Denmark after his affair with a famous married man is exposed:
“Greenland is not my home. I feel sorry for Greenlanders. I’m ashamed of being a Greenlander. But I’m a Greenlander. I can’t laugh with Danes.
I’m terribly homesick but I don’t know what sort of home I’m longing for.”
Arnaq is Inuk’s best friend and Fia’s flatmate. She’s relentlessly social and struggling:
“My chapped lips are the colour of red wine, My hair is still partying. My makeup is smeared all over my face and I have huge bags under my eyes. My body is trying so hard to stay alive that I can’t concentrate on my polluted mind. I drink what’s left of the Coke, lie down on my bed and take out my mobile to check the time.”
Ivik is Sara’s partner and struggling with gender identity. Their story includes graphics of phone screens, showing how the drama of young lives is often played out by technology. But this prosaic language exists alongside the poetic as Ivik works out what they need:
“The sun brightens my eyes, which have only seen the world in black for a long, long time. I can smell the previously frozen earth melting. The warm breeze sounds like a song.”
Finally Sara, partner of Ivik and lust-object of Fia, tells her tale and brings the stories together. Sections of her narrative end with meaningless hashtags which was really annoying, e.g. #dontgotogether or #1#2. If the hashtags had been witty or expanding the perpsective this could have worked better.
Sara, who until this point has been somewhat idealised through the eyes of others, is shown to have her own problems, with feelings of dirtiness and unworthiness. Her sister has just had a baby and Sara notices the obsession with gender that this involves. It’s also a very modern birth announcement via Facebook, where Sara stalks Fia:
“She finally changed her profile picture. I’m unable to see all her photos because we’re not friends on Facebook, so I gaze at her new profile picture for quite a while. I catch myself smiling. I hover over ‘Add friend’ for a long time. No, if she was really interested, she would have sent a friend request. I log off. Go to Google. Google knows everything.”
I only write about books I recommend and it’s undoubtedly great to hear a young Greenlandic voice. Korneliussen was only 24 when she wrote this and she translated it herself into Danish. The writing sometimes seemed to me naïve and bit clunky, but as I said, I’m probably not the target audience for this novella. I’m grateful to Virago for giving English-speaking readers this opportunity to hear her, even if the subject matter bored me slightly. I’d definitely still be interested to see what Korneliussen writes in future.
To end, the title comes from the Joan Jett classic which means a lot to Fia and Sara: