Peirene Press do a fantastic job in unearthing contemporary European novellas, many of which are written by women writers. Peirene curate their books by theme, and The Blue Room is the second in their Coming-of-Age: Towards Identity series.
Hanne Ørstavik, an award-winning Norwegian author, has published several books, but The Blue Room is her first to be translated into English, skilfully translated here by Deborah Dawkin. The story is narrated by Johanne, a young woman in her early twenties who lives with her mother in a small apartment in Norway. The novel begins on the morning when Johanne is due to leave Oslo for a six-week trip to America with her boyfriend Ivar, a trip her mother seems very reluctant for Johanne to take. When Joanne wakes, she finds herself locked in her room, alone in the apartment and unable to break free on her own. As the young girl waits, she soon realises she must let go of her excitement and hopes for everything that might happen in her relationship with Ivar. Instead, Johanne’s thoughts coalesce around a number of recent experiences: how she came to meet Ivar at University (where she’s studying to become a Clinical Psychologist), the role of religion in her life, and her relationship with her mother.
Johanne’s reflections reveal a recent sexual awakening, but also internal conflict between the different demands and influences in her life. On the one hand, she’s attracted to Ivar and is keen to explore her desires and sexual fantasies; but at other times, feelings of guilt and pain flood into her mind:
I lay on my side with my head on the pillow and looked out of the window; the blue of the sky was so clear it almost hurt. I felt it come again. I didn’t cry much, just a few tears rolling down, wetting my eyes. I wondered about the cause. My thoughts lay embedded in sinews and skin, beyond my reach. Those of you who believe yourselves to be clean, without sin, without guilt, may cast the first stone. I saw myself under a heap of stones. (pgs. 46-47, Peirene Press)
These conflicting forces play a part in Johanne’s reactions towards Ivar. As an example, here’s Johanne as she thinks back to an early stage in their relationship, and we see how quickly her thoughts change; what starts with the hope and promise of the first flushes of love suddenly flips into a mood tainted by fear and a sense of danger:
What I wanted most was to go for a walk in the forest, just the two of us, talking, alone, with the sun coming through the trees at an angle, looking at it together, getting to know each other. Ivar took a folded piece of yellow paper out of his pocket. Here’s the address and time and stuff, he said. He looked at me with his head to one side. He was serious. His lips moved a fraction, I observed the breath between them, and his freckles. He’ll kiss me now, I thought. My lips were tingling, but nothing happened. He just looked at me, his face very close. It was if we’d made a promise to each other, exchanged a vow that had no outward expression, because it was unvoiced, but it would live on inside me for ever, real and genuine. Pure. I think Ivar felt it too. Like the words I love you. But then why, I wondered, hadn’t he kissed me? Did he think I was ugly? Repulsive? What was he after? A basement party somewhere near the Akerselva river, late at night. What did he intend to subject me to? Why me? Men always accost me when I’m in town or on the train, alcoholic kids, guys who are out of their heads, or who need someone to confide in. There must be something about me, something they see. Perhaps I’m marked. Perhaps I have a wound that everybody can see but me. Something wrong? Ivar asked, putting a hand on my arm. I still hadn’t answered him about the party. His grasp was firm. A strong, warm hand on my arm. That’s how it starts, So-called concern, I thought later. Just another word for manipulation. (pgs. 94-95)
As the story develops, we can’t help but feel that Johanne’s fears about Ivar’s intentions stem from her mother’s ideas about men and their motives in general:
Men are so simple. Controlled by sex and power. Like robots, she said. (pg. 51)
The claustrophobic, almost stifling setting for Johanne’s confinement reflects the nature of her ties to her mother. It’s a very unsettling, unnerving read, especially when disturbing visions of a sexual and intense nature flood into Johanne’s mind like bolts from the blue. But it’s a subtle book, too; I found myself reading each line quite slowly, looking behind the words on the page for hints and clues about events in Johanne and her mother’s past that might shed light on various elements within the story. And the ending is quite chilling; it’s one that left me trying to imagine what might happen to Johanne in the hours and days to come.
As with all the Peirene novellas I’ve read to date, I’m sure a second reading of The Blue Room will reveal additional nuances and insights. That’s one of the things I like about Peirene books – there’s always something new to discover when one returns to a Peirene story, even if The Blue Room might be an uncomfortable place to revisit.
A number of other bloggers have also reviewed this book – if you’d like to read their thoughts, just click on the links: Claire at Word by Word, Lindsay at The Little Reader Library and Naomi and The Writes of Women.
The Blue Room is published in the UK by Peirene Press. Source: review copy kindly provided by the publishers.