OEI, LYRIKVÄNNEN, PRESENS #18/99, TROTS ALLT, ORDFRONT, BALDER #1/13, #3/13, #1/14, #3/14, #4/14. Sewing processes / The Nauseating Grossesse

Balder Magazine


Actually, he only needed a pen, his life was to write
by Sofia Tolis

"Dad, I want to tell you something. Listen, even if it is something that you already know. Every text I write, it's like putting a new piece of ground in front of my feet. There is a little more land to enter. When I see it, the ground, I do not understand how I could exist without it. I have only seen glimpses of it, I have taken small steps into nothing. I do not know who I am, but when I've written some sentences, I can look at them and remember. It's like I'm erased. I exist in these little words, there are more and more small explanations. [...]

Lyrikvännen Magazine


Guest editors: SHAME, Ann Hallström & Jenny Tunedal

Fifteen pages collective poem by: Farnaz Arbabi, Åsa Arketeg, Malin Backström, Elnaz Baghlanian, Elisabeth Berchtold, Aase Berg, Nina Björk, Monika Fagerholm, Christine Falkenland, Maya Hald, Anna Hallberg, Halla Hallgren, Ann Hallström, Sara Hallström, Cecilia Hansson,Gertrud Hellbrand, Birgitta Holm, Pamela Jaskoviak, Anna Johansson, Anna Jörgensdotter, Lo Kauppi, Sofia Klittmark, Maria Küchen, Kate Larsson, Cecilia Lindemalm, Malin Lindroth, Emma Lundenmark, Marie Lundquist, Eva Massiri, Susanne Mobacker, Coco Moodysson, Cilla Neumann, Malin Nord, Eva Kristina Olsson, Titti Persson, Karolina Ramqvist, Ulrika Revenäs Strollo, Eva Ribich, Kristina Sandberg, Ingrid Storholmen, Kerstin Strandberg, Sara Stridsberg, Gun-Britt Sundström, Sofia Tolis, Astrid Trotzig, Jenny Tunedal, Sara Villius, Pauline Wolff, Nina Wähä, Maria Zennström, Linda Örtenblad and Marit Östberg.


D-thesis in Literature by Sofia Tolis


Everything that comes between me and my writing, I'm killing - Melancholy in the language of the novel Bübins kid by Mare Kandre

Link to full text

Excerpts from the D-thesis:

To see yourself in clear daylight is not possible. You can only get messages through dreams and glimpses of insights. But in writing, the author can try to get in touch with memories of body, emotions, physical contact. The movement of the blood can be heard in the writing, through an experienced presence of "the Other". To be on the outskirts, death drive and "jouissance" are the driving force (momentum) behind writing. Why would the author accept the challenge of writing, if it was easy? Kristeva consider that literature, and especially the poetic language, has a revolutionary potential. Her work with literature, through structuralist, marxist and psychoanalytical ideas has always been about trying to find out: How does meaning arise in the language? Why are some expressions empty of meaning (mass culture, advertising, entertainment) and other expressions filled with it (for example, the poetic language)?

By listening to patients' conversations on the divan in her psychoanalytic profession, and taking Melanie Klein's idea of the importance of aggressive operations for symbolizing ability, and highlighting the paradox of language (heterogeneity), she comes to the conclusion that the poetical language is the perfect meeting point between the semiotic and the symbolic language. Meaning / value arises in the crossroads between "the Mother's body" and "the Father's law". The poetic language, which is not an effect of a rational and law-based language but prepares space for semiotic impulses to break in, should be established as a research object, she considers. If we examine the poetic language, we can find revealing truths about us human beings and what it is we really need.

Text: Sofia Tolis

Sound installation: Smallest little waterbag, Sofia Tolis

2005, 1999

Participiating in a program by Britt Edwall, 60 minutes, Radio Sweden

In this program, about the spoken language and its disintegration, by Britt Edwall, a fifteen minutes presentation and own reading are included, when Tolis reads from her artwork: "Smallest little waterbag" [an old woman's monologue]. The program is filled with cries, burps, screaming and sound poetry. The participants are: sound poets, a folk musician who can tell stories, the woman who was seduced by words, a bridge operator, a dentist, priests, the poets: Bruno K Öijer, Artaud, Elmer Diktonius, TS Eliot, a bored cultural worker, a shy hairdresser and finally the girl who saw the beauty in the collapse of the language [i.e. "the girl who saw the beauty in the collapse of the language" is Sofia Tolis].