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Auteurs primés

Sara Stridsberg, Suède

A propos de l'auteur:

Née en 1972, Sara Stridsberg est écrivaine et scénariste. Son premier roman Happy Sally a été publié en 2004. Elle obtient la reconnaissance du public deux ans plus tard avec la publication de  The Faculty of Dreams, son deuxième roman. Le troisième, Darling River, a été publié en 2010.
Parallèlement à l’obtention de plusieurs prix importants, elle a été reprise trois fois dans la liste des lauréats du prestigieux prix August, la dernière fois en 2012, pour sa pièce, Medealand. Stridsberg vit à Stockholm.


Albert Bonniers Förlag
Box 3159 - 103 63 Stockholm - Sweden    
Tel.: +46 8 696 86 41


Agent / Directeur des droits:

Magdalena Heldund
tél: +46 70-669 05 68

Droits étrangers:

Livre primé:

Beckomberga - ode till min familj (The Gravity of Love)


Quand Jimmie Darling est admis à Beckomberga, un hôpital psychiatrique en dehors de Stockholm, sa fille Jackie passe de plus en plus de temps là-bas. Quand la mère de Jackie part pour des vacances à la Mer Noire, l'hôpital devient son seul univers.

Le docteur Edvard Winterson est en charge de l’établissement. Certains soirs, il emmène Jimmie et quelques autres patients à des fêtes, en ville. Dès qu'ils ont passé les portes dans la voiture d'Edvard, la première bouteille de champagne est ouverte sur le siège arrière. 'Une nuit en dehors du confinement de l'hôpital vous rend humain à nouveau' dit-il à ses patients.

A l'hôpital, on rencontre aussi Inger Vogel, une 'infirmière angélique en sabots' qui semble habiter une zone crépusculaire entre ordre et dévastation, et la patiente Sabina, objet du désir de Jimmie et du Dr. Winterson, avec ses perles, son arc et son obsession de la liberté et de la mort.

Beckomberga explore l'amour de Jackie pour Jimmie et la manière dont elle communique avec lui, d’abord comme une enfant, puis comme une adulte et une mère. Dans la magnifique nouvelle de Sara Stridsberg, l'hôpital psychiatrique, situé dans un joli parc près d'un lac, prend des dimensions quasi mythiques, à la fois  ange qui punit et sauveur d'âmes perdues, comme dans une ancienne vision utopique.


Translated by Deborah Bragan-Turner

In the evenings they get away from the hospital. As the electric gates open and let the car through, the first bottle is uncorked in the back seat, always champagne that has been chilling in the cellar during the day. Edvard drives across the bridges in the direction of the city, through sleeping residential areas and streets. Sometimes a girl from the unit is already waiting in the back: sometimes it’s Sabina, sometimes it’s someone else, often half-comatose with medication. The birch trees shimmer in the twilight; Indian ink skies dappled with pink and yellow, stray wisps of cloud, birds, a haphazard drawing of the heavens. Edvard is convinced it’s good for the patients to get out of the unit every so often.

“One night beyond the confines of the hospital makes you human again,” he says.

Jim is given a crystal glass and in the glove compartment there’s a new shirt and a little bag of something that will make the night go faster. He sees the city pass by outside, men on their way home to their families, single women walking slowly along the streets, and sometimes, when they have stopped at a pedestrian crossing, waiting for the lights to change, he’ll find that he’s looking into the face of an old friend or colleague who’s standing there, waiting. Once, by a crossing outside the Ministry for Foreign Affairs, he looks straight into Lone’s face, before the car accelerates away and drives on through the light streaming out of the clubs that have just opened their doors to the night.

Once in a while a girl has a breakdown during the night in the apartment on Lill-Jans Plan and then she has to go back with them to the hospital at daybreak. “Winterson’s toys” they’re called, the girls who drift aimlessly around these parties, sometimes taking payment for their company, and, when they fall over, going back with Edvard in the car. They wake up later in an all-white room with his face hovering above them.

Plus d'informations sur l'auteur avec extrait en v.o. et EN ou FR (PDF)

Dans les médias:

Beckomberga is a beautiful novel.

It is beautiful because its language is full of metallic colours shimmering like tinsel, like the silvery foil around a piece of hashish.  But also beautiful because it treats the abyss with a sort of necessary curiosity: what do we do with the pull downwards, or with those who want to be pulled downwards?

Sara Stridsberg’s novel is not a manual, but a companion.

Malin Ullgren, Dagens Nyheter

The Beckomberga Hospital that emerges in Stridsberg’s novel is larger than life: it symbolizes the universal dream of an open embrace in the shape of a closed community, an extension of the desire for connection that drives us to build families or form other types of collectives: in the work place, in clubs/ associations, congregations, political movements. In its extremest form it is an expression of the common dream of liberation from freedom, the yearning for escape through submission. However, there is no such escape. When Stridsberg’s brilliant novel draws to its close, Jackie settles the score with the sea birds of freedom, with their “smell of death and the sea”, that, in her memories, fly through the hospital corridors. That could simply not have happened.

Amanda Svensson, Sydsvenska Dagbladet

Few Swedish writers have such a distinct voice as Sara Stridsberg. Her language also shapes her special attitude towards the people that she describes. A lyrical, elegant attitude, creating its own special form of empathy.

The novel’s characters are elevated by and clothed in this language, simultaneously extremely beautiful and apparently artless and simple. Everything is integrated in this special Stridsberg voice, and it is hardly possible to disentangle its components.

Lennart Bromander, Arbetarbladet

Sara Stridsberg, winner of several prizes, has already shown herself to be an enormously gifted (stylist) and has a spectacular capacity for bringing her literary characters to life. Also, she has used a technique that calls to mind Strindberg’s Dream Play in both prose and drama. 

In her new novel she takes this method to new heights.


To sum up, Beckomberga – Ode to my Family is a novel with several layers.

It is about relationship problems, mental illness, addiction, individual vs. society and the art of harbouring and dealing with trauma. It also contains a political dimension, as it distinctly criticizes a society that fails to care enough for those in need.

But at the same time the novel describes a joy of living in spite of all obstacles. Moreover it is a novel about love in various shapes.

Ultimately, Stridsberg writes about humanity/love of mankind, and some of the novel’s portraits are unforgettable. I dare to posit that this is Sara Stridsberg's most powerful novel to date, and that is not a small claim.

Clemens Altgård, Skånska Dagbladet

Autres travaux:

Happy Sally

Stockholm: Albert Bonniers Förlag, 2004


Stockholm: Albert Bonniers Förlag, 2006

Darling River

Stockholm: Albert Bonniers Förlag, 2010