laughtermetinfo

231TheAuthor(s)2020K.
Malmio,K.
Kurikka(eds.
),ContemporaryNordicLiteratureandSpatiality,GeocriticismandSpatialLiteraryStudies,https://doi.
org/10.
1007/978-3-030-23353-2_11CHAPTER11UncannySpacesofTransformation:FabulationsoftheForestinFinland-SwedishProseKaisaKurikkaTheforestisaspecialspaceforthepeopleofNorthernEurope.
AsEmilyBrady(2003,22)hasargued,theforesthasasignificantmeaningindefini-tionsofculturalidentityinallNordiccountries;theforestisaspaceforsoli-tudethatenables(urbanized)peopletoencounternotonlynaturebutalsothemselves.
InFinnishliteraturetheforesthasbeenarecurrentthemeforcenturies.
Depictionshavevariedfromromanticnotionsofthewoodsasamagicalenvironmenttodescribingitasanimportantnaturalresourceandcommercialcommodity.
TheFinnishforestisnotonlyaholysitebutalsoanenvironmentofhardlaborandamarkedelementofmoderncapitalism.
Finlandisacountryfullofforests.
Thestateeconomydependsonthesuccessofforestindustrytoexport,forexample,theknowhowofforestry,productsmanufacturedinpulpmillsandpaperfactories;theforestindus-tryisstillthemainnaturalresourceinFinland.
Forests,however,havealwaysbeenimportanttoFinnishcitizensinotherwaysaswell.
ThewoodsengendermythologizedmeaningsdatingbacktothefolkloregatheredinK.
Kurikka(*)UniversityofTurku,Turku,Finland232Kalevala(1849),theFinnishnationalepic,andthepoemsoftheKanteletar(1840).
Thisforestmythology,varyingfromaplaceofsolitudetoanaturalresourcetobeprofitedfromortobeexploited,isstillrepro-ducedinliteraturetoday.
Becauseofitshugenationalimportance,theforesthasbeenwrittenaboutalot,whetherfocusingontheaestheticsorphilosophicalaspectsofthewoods(see,e.
g.
,Sepnmaaetal.
2003),forestconservation(seeRoiko-Jokela(ed.
)1997;Lhde2015),ortheliterarydepictionsoftheforestinclimatepoetry(seeLummaa2008)—tonamebutafewexamples.
Inthischapter,however,Iwillbediscussingthewaysinwhichtheforestisregardedasanimportantspacenotonlyforhumansbutalsofornon-humans.
ThestartingpointofthischapteristoelaborateonthewaysinwhichthechosenexamplesofrecentFinland-Swedishfictiondepicttheforest.
IdiscusstheactualizationsofthisthematicinthreeworksofFinland-Swedishprosefiction:Grsetrmrkarepandrasidan(2012;"TheGrassisDarkerontheOtherSide")byKajKorkea-aho,CameraObscura(2009)byJohannaHolmstrm,andMartinaDagersLngtan(1998;"MartinaDager'sLonging")byHenrikaRingbom.
TheyalltestifytotheenduringsignificanceoftheforestasaspatialimageinFinnishliterature.
Mydiscussionwilltakeupsimilaritiesinthedepictionsoftheforestinthesetexts,butitwillalsoshowhowforestsareunderstoodashavingspecialandmultiplefunctions.
AccordingtoPerttiLassila(2011,20),whohasstudieddepictionsofnatureandespeciallyforests1inFinnishliteraturefromtheeighteenthcen-turytillthe1950s,Finnishliteratureregardsnatureandtheforestasanalternative,asacontrastorasacounterforce,tohumanbeingsandtheirculture.
Infolkpoetrytheforestisseenasaholyplacethatdiffersfromthesinfulworldofhumanbeings(Tarkka2005,259).
DuringthenineteenthcenturythepoetryofZachariasTopeliusdepictedforestsandnatureinconnectionwithlovingthehomelandandasametaphorandpromiseoftheafterlife;JohanLudvigRunebergdescribednatureasabookwhereGod'sgreatnessismanifested(seeLassila2011,126).
BothTopeliusandRuneberghavebeencanonizedasnationalFinnishauthorsandtheirrep-resentationsofforestsarefilledwithnationalisticovertones.
Intheseliterarydepictions,whichdatebacktopastcenturies,Finnishforestsundergoabifurcation,pointingeithertoother-worldlydimensions(whethertoChristianorpaganbeliefs)ortothematerialworldinhabitedbyhumans.
ThischapterarguesthattodayforestsarepresentedasasitetoK.
KURIKKA233negotiatebetweenthetwopolesofhumanandnon-humanentities,butinsteadoftreatingthemasoppositions,contemporaryfictionproblema-tizesthembyattachingitselfalongthemovinglinebetweenthem.
ThetitleofPerttiLassila'sstudyis"TheBlissfulForest"(Metsnautuus).
IntheintroductionLassilasaysthathismaininterestliesinthehistoricalchangesthathavetakenplaceinFinnishliteratureanditsworld-viewsregardingnature.
Lassilaarguesthatintheliteratureofthelatterhalfofthetwentiethcentury—theperiodthischapterdealswith—natureandforesthavelosttheircredibilityasanexistential,spiritual,orideologi-calalternativetothecultureofhumanbeings.
Lassilamaintainsthatinsteadofremainingasanimportantexistentialandideologicalsite,naturehasbecomecommercialized,anditistreatedasaplaceofrecreationalactivities,adventure,andconsumptioninpost-warfiction(Lassila2011,20–1).
Lassila'sviewsare,however,strikinglyanthropicandanthropocentric,sinceforhimtheforestismerelyahumanspace,areflectionofhumanmentality.
ThethreeworksofcontemporaryFinland-SwedishprosefictionIdiscussinthischaptercontestLassila'sviews.
Theyareworksofliteraturethatbringforthexistentialquestions,ideologicalandevenspiritualissues,whileponderingontherelationshipbetween"nature"and"culture.
"Itseemsthatallthreetextsarealsomovingawayfromtheanthropocentricperspectiveandchangingthefocustoseethehumanconditionsidebysidewithnon-humanexistence.
AndtheyelaborateonthesequestionsinconnectionwithFinnishforests.
Oneofthemainquestionsofthischapteris:HowdotheseliterarytextsproblematizeanthropocentrismbyplacingtheforestasthefocalpointofnarrationIarguethatinrecentFinnishprosefictionwritteninSwedish,thefor-estismaterializedasaspaceofandfortransformation—andinhereIdis-cussthesetransformationsindetail.
Additionally,itseemsthatbyfocusingonthedepictionoftheforest,literaryexpressioncanalsotackletheques-tionofmanifoldencountersbetweenhumanandnon-humancreatures(suchasanimalsormonsters)—theseencountersarefilledwithvariousaffects.
Thischapterasksquestionssuchas:HowistheforestdepictedasanaffectivespaceHowdothecharactersperceiveforestsWhatistherelationshipbetweenthecharactersandthespacesinwhichtheyaresitu-atedInordertoanswertheseandotherquestionsIturntothegeophilo-sophicalconceptsofGillesDeleuzeandFélixGuattariandthenproceedtoananalysisofthenovels.
11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…234ThinkingLiteraryForestswithDeleuzeandGuattariItacklethetransformativenatureoftheforestsinthesenovelsbythinkingaboutliteraryspaceusingthegeophilosophicalconceptsofDeleuzeandGuattari.
Tostartwith,theprosefictionbyKajKorkea-aho,JohannaHolmstrm,andHenrikaRingbomexceedthelimitsoftherepresenta-tionalregimebycreatingsuchforeststhatcannotbeexperiencedinoureverydayreality:theydonotinvestinre-presentingexistingFinnishfor-estsbutcreatenewforestlandsthroughimageriesoftransformation,lim-inalspaces,andhuman–non-humanencounters.
Whilegivingexpressiontothespatialityoftheforest,theythusemphasizetheimaginativeforcesofliterature.
TouseaconceptcreatedbyGillesDeleuzealoneandincol-laborationwithFélixGuattari,theyexplorefabulation(seeDeleuze1989,133),oftellingstoriesofnewspaces,creatingnewspatialitiesoftheforest.
Theseforestscanonlybeimagined;theyaretheresultofliteraryfabula-tion.
Conceptually,fabulationemphasizesimaginationandthecreationofsomethingnew,whichdoesnotstemfromreminiscenceorfantasy(DeleuzeandGuattari1994,171).
AccordingtoRonaldBogue(2010,18–20),theconceptoffabulationalsopresentsitselfasdeeplypolitical,sinceDeleuzeconnectsfabulationwiththeinventionandcreationofasocialcollective.
Deleuzecallsthiscollectivethatauthorsandotherartistsfabulateintheirworkspeopletocome(peupleàvenir).
Deleuze(1989,216)writesaboutapeoplewhoaremissing,andthereforeitisthetaskoftheartisttoinventapeople.
AsGregoryFlaxman(2012,227)pointsout,theforceoffabulationliesintheaffirmationofapeopleandpoliticsthatisyettocome.
TheprosefictionofKorkea-aho,Holmstrm,andRingbominventsnewforests,buttheycanalsobesaidtoentertheareaofthepowersofthefalse(puissancedufaux),anotherconceptcoinedbyDeleuze.
Although,asGregoryFlaxman(2012,xvii–iii)haspointedout,Deleuzeusestheconceptsparingly,itisfoundthroughoutDeleuze'sphilosophicalthink-ing.
Thepowersofthefalsecoveraregionofsteppingoversuchthinkingthatisgovernedbyadivisioninto"thetruth,""thereal,""thewrong,"and"thefictional.
"Insteadoftryingtofindthetruth,thepowersofthefalsecelebrate"thefalse,"andbyaffirmingitsexistencetheforcestocre-atethenew,tofabulate,areborn.
AsDeleuze(1989,133)writes:K.
KURIKKA235(…)contrarytotheformofthetruewhichisunifyingandtendstotheidentificationofacharacter(hisdiscoveryorsimplyhiscoherence),thepowerofthefalsecannotbeseparatedfromanirreduciblemultiplicity.
"Iasanother"[Jeestunautre]hasreplacedEgo=Ego.
Thelogicofthepowersofthefalserestsonthemovementtowardthecreationofthenew,thatis,offabulation,oftellingstories.
Itgivesseveralformstothefalse/unreal,becauseitsfoundationismetamorpho-sis,becoming.
WhenliteratureisunderstoodasDeleuzianfabulationandasanexpres-sionofthepowersofthefalse,italsoengendersaspecialwayofstudyingliteraryspaces;unlike,forexample,whatBertrandWestphalsuggestsinhisgeocriticalapproach,literaryspacesarenotdiscussedasre-presenting"real"spacesorasreferentialspatialitiesnorisliteratureseenasamimeticart(seeWestphal2011,3).
Insteadtheemphasisliesonthepotentialitiesofliteraturetofabulatenewkindsofspatialities.
InWhatisPhilosophyDeleuzeandGuattari(1994,85)write:Subjectandobjectgiveapoorapproximationofthought.
Thinkingisnei-theralinedrawnbetweensubjectandobjectnorarevolvingofonearoundtheother.
Rather,thinkingtakesplaceintherelationshipofterritoryandtheearth.
(…)theearthconstantlycarriesoutamovementofdeterritorializa-tiononthespot,bywhichitgoesbeyondanyterritory:itisdeterritorializ-inganddeterritorialized.
Drawingonthiscitation,thinkingorstudyingliteraturemeansformingaspatialrelationwiththeworkofart.
Thebookorliteratureisnotconsid-eredaseparateobjectofstudyontowhichthesubject(i.
e.
,theresearcher)reflectshis/herperspectivesandconcepts.
Instead,studyingliteraturemeansthinkingwithliterature.
AccordingtoIanBuchananandGreggLambert(2005,5)inAThousandPlateaus,DeleuzeandGuattariconfig-urenewwaysforspatialfields,whichreplacethetripartitedivisionofspa-tialfieldsnormallyassociatedwith"mentalrepresentations"suchasliterature:thefieldofreality(theworld),thefieldofrepresentation(thebook),andthefieldofsubjectivity(theauthor).
Insteadofthese,DeleuzeandGuattarithinkofliteratureasanassemblageofplanes,oflines,andbetweenthese,pointsofvariation(becoming)—inanotherwordslitera-tureexpressesthemovementsbetweenchaos(terra)andsocially,linguis-tically,bioethologically,andsoonreframingterritories.
Theearth,terra,11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…236canbeinfinitelydividedandframed(Grosz2008,17)intonewterritoriesthroughthemovementsofde-andreterritorializations.
ForDeleuzeandGuattaritheproductionofspaceismuchlessbasedonahistoryoflaborandsocialrelations—asisthecasewith,forexample,HenriLefebvre—thanahistoryofdesireandperception(Tynan2016,482).
"Geography(…)isnotmerelyphysicalandhumanbutmental,likethelandscape,"DeleuzeandGuattariwrite(1994,96).
Spacesarethusaffectivesensations,butspacesarealsobornwithper-ception.
Abodyormattercanbeperceivedandsensedaslocatedinacertaingeometricalspace,whichcanbedescribedasasetofrelationsformedbythebodyinitslocation.
ForDeleuze,however,asClaireColebrook(2005,196)insists,spaceisnotconstructedfromsense,sociallyandculturallyconsisted,butspatialityopenssense,since"anylocationbearsthepotentialtoopenupnewplanes,neworientations.
"Deleuzedoesnotseespaceaseffectedfromsense,butinsteadspatialityisanopeningtosense.
Tostudyspacesinthismanneralsomeansacknowl-edgingthemasalwaysalreadydifferentinthemselves,constantlychang-ing.
Italsomeansfocusingonthepotentialofliteraturetoproduce,tofabulate,newspatialities.
AsAidanTynan(2016,484)haswritten,thegeophilosophyofDeleuzeandGuattari"isameansoftracingtherelation-shipbetweenthought,politicsandspacethathavedominatedWesternconsciousness,butitalsoinsiststhatourconceptsandinstitutionshavebeengeographicallyconditioned.
"InwhatfollowsIwilldiscussKajKorkea-aho's,JohannaHolmstrm's,andHenrikaRingbom'sprosewithspatialconceptsbyDeleuzeandGuattari.
2Thefunctionsandactualizationsoftheforestinthesetextstakedifferentforms,anditisthusnecessarytoconsiderthemwithdifferentconcepts.
WhendiscussingKorkea-aho'snovel,Ifocusonthewaystheforestbecomesterritorializedasthespaceoftheuncanny—theuncanni-nessoftheforestissharedbyallthreedepictions.
TheforestinHolmstrm'sproseundergoesaprocessoftransformationeffectedbythemovementsofthecharacters—theconceptsofterritory,reterritorialization,anddeterri-torializationareusefulinapproachingthistransformation.
Ringbom'snovelbuildsonthejuxtapositionoftwospaces,thecityandtheforest,whichIdiscusswiththeconceptsofthestriatedandsmoothspace.
Iwilldefinetheseconceptualizationswhenusingthem.
First,IwilldiscussKorkea-aho'snovel,thenHolmstrm's,andfinallyRingbom'sprose.
K.
KURIKKA237TerritorializingtheForestasUncannyInthebeginningofKajKorkea-aho's3Grsetrmrkarepandrasidan(2012;"TheGrassisDarkerontheOtherSide"),asuddenearthquakemakesapeacefulforesttremble,shake,andwavelikeastormyocean.
Theearthquakelastsonly20seconds,butafterwardtheinhabitantsofGrnby,afictionalvillagelocatedinOstrobothniainWesternFinland,returntodiscusstheconvulsivesensationsof"(…)standingonthegroundwhichnolongerfeltstable"(Korkea-aho2012,19).
4Theearthquakeisdescribedinconnectionwiththeforest,asthenarra-tordepictsshiveringbranches,rabbitsrunningaghast,orarumblingnoisetravelingfastthroughtheforestresemblinganundergroundfreighttrain.
Bychoosingtoconcentrateontheeffectsthattheearthquakehasonnon-humancreaturesandonnature,thenarratoralsochoosestomoveawayfromananthropocentricperspective.
Thesceneappearsasiftheforest,orthewholeearth,wereatthepointoftransformation,whichcanbecon-ceptualizedwiththeconceptofdeterritorializationasproposedbyDeleuzeandGuattari(see1988,310–50).
Theverybeginningofthenovelthuspointstoaforestundergoingdeterritorializingmovements:thearea,theterritoryoftheforest,formerlyterritorializedasarigid,solid,andpeacefulspace,isturningintosomethingelse.
Theforestbecomesdispersedthroughtheprocessofdeterritorialization.
SituatedintheearlypagesofKorkea-aho'snovel,thescenealsofunctionsasapremonitionoffuturehappenings,whichareagaincenteredintheforest.
Korkea-aho'snovelconsistsofmanystorylines,severalcentralcharactersactingasfocal-izers,anditcoversamultitudeofthemes.
ThestorylineinwhichtheforesthasaspecialfunctionfocusesonChristoffer,ayoungmanwhoreturnstoGrnby,wherehegrewupasachild.
Christofferandhisfriendsgathertospendtimetogetherandalsotoreminisceabouttheirchildhood,whentheyusedtoplayintheforest.
Theforestnownolongerappearsasahappyspacefilledwithjoyandlaughter,butafrighteningspaceofvio-lenceandanxiety.
Inthecourseofthenoveltheforestisdepicted,forthemostpart,likeanyFinnishforest.
Thenarrationfunctionsintermsoffamiliaritywhendescribingtheforest—inotherwords,thedescriptionreterritorializesthosefeaturesoftheforestthatareknowntomostFinnishreadersintothewaysthenovelbuildstheterritorialareaoftheforest.
TheFinnishlegisla-tionwithitslegalconceptof"everyman'sright"giveseverybodythechancetoenjoyoutdooractivitiesandthecountry'svastforestswithfew11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…238restrictions.
ThisfreedomtoroamintheforestisalsoactualizedinKorkea-aho'snovel.
Theforestisterritorializedasanadventurousplaygroundforthenearbyvillagechildren.
Adultsgojoggingonthepathwaysinthefor-estandyearlyabigrunningcompetitiontakesplacethere.
Anisolatedgravelroadrunsthroughtheforest,wherepeoplepickberriesandmush-room.
Allinall,theforestinKorkea-aho'snovelappearstobeatypicalFinnishforest,filledwithactivitiescharacteristicofthetraditionalFinnishforest-centeredlifestyle.
Atthesametime,Korkea-aho'snovelalsoinvestsintheforcesofliter-aryfictiontofabulateandimaginenewkindsofspaces.
Theforestdescribedinthenovelisanythingbuttypical,becauseahugemonsterdwellsthere.
Thevillagershavetoldstoriesaboutthemonsterforsolongthatithasbecomeamythicalcreature.
Inafashionreminiscentofhorrororghoststories,thecharactersofthenovelblamethemonsterforkillingchildrendecadesagoaswellasfordeathscurrentlytakingplace.
Interestingly,though,themonsterisneitherillusorynorreal,butsomethingin-between.
Thevillagersareconvincedtheyhaveseenthemonster,butforthemostpartthenovelbuildsonthesuspensecreatedbythethoughtsofthemaincharactersastheyponderwhetherthisdark,shadowycreatureisareal,anactualmaterialbeing,orhasbeenbornfromtheimagination.
Thissuspenseisheightenedbythefactthatoneofthekeyfigures,Christoffer,iscompletinghisMaster'sthesisonamythologi-calfigurecalledRaamt.
Raamtbelongstothefictitiousfolkloreoraltradi-tionoftheOstrobothnianregion,whereitistakentorepresent"pureevil,"although,accordingtoChristoffer'sstudy,sometimesRaamtisalsoseenasakindofguardianangelwhoprotectsyoungchildren.
Themon-sterlivingintheforestisjuxtaposedwithRaamtinthecourseofthenovel.
Thecreatureisphotographedsittingbesideawomaninthefrontseatofacarjustsecondsbeforethecarmysteriouslycrasheswhilesheisdrivingthroughtheforest.
Thenovelhintsthatthemonstercausesthewoman'sdeath.
Thecentralcharactersofthenovelalsomeetthemonsteronseveraloccasions.
Duetothis,themonsterbecomesarealfigurewithintherealityofthenovel'sstoryworld.
Readingthenovel,onebecomespuzzledbythemonster:HowisitpossiblethatatypicalforestnearatypicalvillagemightcontainacreaturenormallyreservedforfairytalesandhorrorstoriesThereaderexperiencesasenseofdoubtespeciallybecausethenovel'snarrationmostlybuildsonpsychologicalrealismandmimeticattitudeintermsofreality.
Thus,inKorkea-aho'snovel,themostnaturalFinnishspace,theforest—accordingK.
KURIKKA239totheFinnishNaturalResourcesInstituteforestorforestlandcovers78%ofthetotalareaofFinland(seeMetla2015)—isturnedintosomethingunnaturalorsupernatural.
Inotherwords,theforestundergoesaprocessofdeterritorializationandenterstheareaoftheuncanny.
Korkea-aho'snoveldepartsfrom"consensusreality"(seeHume2014,21)andproposesaworldwherethelawsofourworldareintegratedwithlawsuncommontous—thushisnovelcanclaimtogiveexpressiontothepowersofthefalse,whicheffacethehierarchicaloppositionsbetween"right"and"wrong.
"FollowingTzvetanTodorov's(1987,41–51)defi-nition,Korkea-aho'snovelcanbeplacedinaspecificgenreoffantasticliterature:theuncanny.
AsTodorovpointsout,thegenremanifestsitselfinmanyvariationsrangingfromEdgarAllanPoetoDostoyevsky,butperhapstheonecharacteristicelementcommontoallofthemisthattheexistenceofthesupernaturalisgivenarationalexplanation.
InKorkea-aho'snoveltheexistenceofthesupernaturalmonsterislinkedtotheper-sonalpsycheofthecentralcharacter,Christoffer,andthebeingofthemonsterisgivenarationalexplanation,butthereaderstillremainssome-whatpuzzled.
ThemonsterisbornfromChristoffer'sanxietyanddistress,whicharecombinedwithhisknowledgeofthemythicalfigureofRaamt.
AttheendofthenovelChristofferisfinallyabletorecognizehisdepres-sionanditsmanifestationinthemonster.
Afterthatthemonsterdisap-pearsfromtheforest,butremainsonguardinsideChristoffer,readytocomealiveagainifnecessary.
RosiBraidotti(2002,201),uponwritingonthemonstrousasadominantpartofthesocialimaginary,arguesthattwenty-first-centuryhorrorandscience-fictionliteratureandfilmshowanexacerbatedversionofanxietyintheformofthe"othernesswithin":themonsterdwellsinthecharacter'sembodiedself,readytounfold.
Korkea-aho'snovelmanifeststhis.
InthischapterIdonot,however,concentrateonthefigureofthemonsterorondefinitionsofthegenreoftheuncanny.
Instead,Ifocusontheforest,themonster'smilieu,byposingthefollowingquestions:WhyisitthatincontemporaryFinland-Swedishprosefictiontheforestisinhab-itedbyuncannyelementsWhyistheforestaspaceinwhichtheuncannytakesplaceKorkea-aho'snovelisnottheonlyexampleofrecentprosedepictingtheFinnishforestasaspacetonegotiatetherelationshipsbetweennaturalandunnaturalhappenings,sinceJohannaHolmstrm'sCameraObscuraandHenrikaRingbom'sMartinaDagerslngtanarealsoexamplesoftheuncannyforest,asthisdiscussionwilllatershow.
11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…240Inhisstudyoftheuncanny,NicholasRoyle(2003,6)arguesthattheuncannyisa"meansofthinkingtheso-called'reallife',theordinary,thefamiliarandeveryday.
"ForRoyle,theuncannyisnotaliterarygenre,butacriticalelaborationboundupwithanalyzing,questioning,andeventransformingwhatiscalled"everydaylife.
"ReferringtoAnthonyVidler,Royle(2003,6)writesthattheuncannyisametaphorforafundamentallyunlivablemoderncondition.
Theuncannyisanexpressionofestrange-mentandunhomelinesstypicalofourtimes.
TheuncannyforestpersehasalongtraditioninWesternliterature,fromShakespeare'sforeststothefairytalesoftheGrimmbrothers,amongothers,andtheFinland-Swedishprosefictiondealtwithinthischapteralsoreinforcestheuncannyforest.
InKorkea-aho's,Holmstrm's,andRingbom'sprose,theforestbecomesaspaceforquestioningthebordersofeverydaylife.
As"astrange-nessofframingandborders,anexperienceofliminality"(Royle2003,2),theuncannyhasanimmenseaffectiveforce,whichintheworksunderscrutinyinthischapterseemstobeconnectedwiththeproblemsofdefin-ingboththehumanandthenon-humaninthecontemporaryworld.
Theuncannyappearsasanaffectiveencounterbetweenhumansandnon-humans;thisencounteriseitherembodiedinsidethecharactersasaformof"othernesswithin,"asinKorkea-aho'sandRingbom'snovels,orwithnon-humancreatures,suchasthewolfinHolmstrm'sprose.
Mostsig-nificantly,theseencounterstakeplaceintheforest.
Korkea-aho'snovelmovesawayfromanthropicattitudesbyallowingtheunhumanqualitiestoenterthesceneinthefigureofthemonster.
Inbringingrealisticallydepictedhumancharacterstogetherwithaclearlyfictionalmonsterandbyclaimingthatbothoftheseare"real"characters,Korkea-aho'snovelexemplifiestheuncanny.
Butatthesametime,Korkea-aho'snovelfollowsthelogicoftheDeleuzianpowersofthefalse,whichcelebratestheexis-tenceoftheuncannyandquestionsthedivisioninto(hierarchical)oppositions.
VanishingPointsintheForestDarknessInJohannaHolmstrm's5CameraObscura,agroupoffriends,youngadultslivingintheFinnishcapitalofHelsinki,discusstheiroptionsonhowtomosteffectivelyopposethecapitalistsystemandconsumersociety.
ThetopicoftheirdiscussionmakesHolmstrm'sproselatemodern.
Oneofthem,Ida,saysthattheonlywaytostopthecapitalistapparatusistodestroyit.
Toher,thedestructionofcapitalismcanonlybeachievedbyK.
KURIKKA241abolishingthepartthatisnecessaryforthecontinuationofthemachinery:theconsumer.
Althoughasagrouptheycannotstopotherpeoplefrombuyingthings,theycanatleaststopthemselvesfromconsuming.
Anothermemberofthegroup,Annaasks:"WhatWhatshallwedothenShallwemoveintotheforestandbuildatinycabinthereandliveoffnature"(Holmstrm2009,46).
Ida'sanswertoAnna'sprovocationisanemphatic"no,"herownsuggestionbeingthattheyshould"quitexisting"andcommitsuicide,fulfillingherideabyjumpingoffabalcony.
Later,how-ever,Anna,herboyfriend,andanothercouplemoveintoanisolatedfor-est,sinceasradicaleco-activiststheyneedtoescapethepoliceafterperformingaviolentactagainstfurfarmers.
Theyliterallyliveinandofftheforest,aplaceinwhichtohidefromthenormsandideologiesoftheprevailingsociety.
Fromtheperspectiveofthesociety,thegroup"quitsexisting"andvanishesintotheforest.
Tobeginwith,theforestisthusconnectedtoideologicalissuesinHolmstrm'sbook.
IncomparisontothelongtraditionofFinnishforestfiction,whichfocusedonthepeacefulblissoftheforest(seeLassila2011,passim.
),Holmstrm'sforestbecomesasitetonegotiatebetweenvariousecologicalandeconomicideasconcerningtheprevailingworld.
Theforestisterritorializedasaspaceofpoliticsandethics—theforestismarkedbythem,sincethecharactersofthenovelreturntodiscusstheforestintermsofdifferentideologiesofconsumercapitalismandecologicalactivism.
InAThousandPlateaus,DeleuzeandGuattari(1988,314–16)writeabouthowterritoriesareproducedbyrepetitiousrhythms;inHolmstrm'snoveltheforestisdepictedonseveraloccasionsasaspacewhereeco-activistsandconservativesfighteachother.
ButatthesametimetheforestinHolmstrm'sproseisalsoreterritorializingtraditionaldimensionsoftheforest:forAnnaandherfriendstheforestisaspacetohide,tobealone,andtorest.
ThetitleofHolmstrm'sbook,CameraObscura,canbeunderstoodinatleasttwoways.
Itreferstoaliteral"darkroom,"andmanydarkandgloomyplacesaredepictedinthecourseofthehappenings,varyingfromIda'sroominHelsinkitotheforestwhereAnnaandherfriendshide.
Anna,walkingaloneintheforest,facesanespeciallydarkandgloomyroomwithelementsoftheuncannywhenshecomesacrossatiny,run-down,seeminglyinhabitedcabin.
Annatakesalookinsidethecabinthroughasmallwindowandisshockedtoseealittlebaby,sittingaloneatthekitchentable.
Annasoonrealizesthatthebabyisadoll,skillfullycraftedtolooklifelike.
Tomeetthisspookyfigureinthemiddleofthe11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…242woodsgivesbirthtoanuncannyexperience—astrangecombinationofthemechanicalandthenatural(seeRoyle2003,2).
Butthetitleofthebookalsoreferstothefunctionalopticalmedium,which,accordingtoFriedrichKittler(2010,52)madetherevolutionaryconceptofaperfectperspectivepaintingpossible.
Cameraobscura,startingfromtheeyeoftheobserver,offerednewcombinationswhichinvolvedtheeye,pinholeimages,paintings,mirrors,andtheoutsideworld(Kittler2010,57).
Cameraobscuraenabledlinearperspectiveinwhichtheparallellinesofanimageseemtoconvergetoavanishingpoint.
ThefunctionalcameraobscuracanalsobelinkedtothegenreofHolmstrm'sbook.
Thesubtitledefinestheworkasacollectionof"shortstories,"anditisindeedpossibletoreadthebookassevenlongshortstories.
Thetitlestory"CameraObscura"alsotakesuptheopticaldevicewhenthemaincharacter,aphotographercalledLaura,remembers"(…)anartistwhobelievedhecouldseetheworldclearerwithacameraobscura,thetruthinabox,distortedbutneverthelessexact"(Holmstrm2009,202).
Thestoriesorthechaptersarealllinkedtogetherthroughtheircharacters.
TheLauraofthetitlestory,forexample,isthehalf-sisteroftheabove-mentionedAnna;charactersfunctionaslinesthatconnectchapterstoeachother.
Asthestoriesprogress,theyalsoshedlightonthewhere-aboutsandfatesofthecharactersintheotherstories.
Holmstrm'sworkcanthusalsobeseenasanovelinwhichchaptersofferdifferentperspec-tives,albeitsometimesbriefly,onthehappenings.
Asawhole,thecompo-sitionofHolmstrm'shybridworkseemstofunctiononthelevelofconstantre-anddeterritorialization,sincethestories/chaptersexplainandcompleteprevioushappeningsindifferentcircumstances,formingarhizome-likecontinuationofintersectinglines.
Eventsarereframedinnewterritories.
Moreimportant,thenovelseemstoputforthanimageofthought,whichactsuponandfabulateswiththevariouselementsconnectedtocameraobscurabythematizingandconceptualizingthem.
Mostofthechaptersarenarratedbyathird-personnarrator,thoughfocalizedthroughamaincharacter,whichgivesthischaracter'sperspectiveonwhatisnar-rated.
Inthechaptersminorormajorcharactersliterallyvanish,eitherbydyingorbydisappearing—thisinfatuationwithdeathanddisappearance(seeRoyle2003,2)alsoenhancestheuncanninessofthework.
In"TheChildrenoftheDollmaker,"atthebeginningofthetwentiethcenturyinSt.
Petersburgsmallchildrenaredisappearing;in"CameraObscura"Laura'sgirlfriendkeepsondisappearingandreturning;andin"BlueK.
KURIKKA243AnemoneHill"("Blsippsbacken")askaterdrownsintheicysea.
Itisasifthenarrationformsacollectionoflines,whichconvergesintoahole,avanishingpointinthemannerofthecameradeviceitself.
In"TheYearoftheWolf"("Vargensr"),Annaactsasthefocalizerontheplaneofcomposition.
Assuch,herperceptionsandaffectshaveastrongimpactonthewaystheforestisexpressed.
ItisasifthedescriptionissetonalinecreatingakindofbeamoflightanalogoustoAnna'saffects.
Whenshefeelsthreatened,theforestisdepictedasaviolentenvironment,where"stonesaresharpandrelentless"and"thesprucestandhighlikespearheads"(Holmstrm2009,58).
Whenwalkingintheforestandleavingthecabinbehind,Anna"feelssafeagainintheclear-cutarea"(Holmstrm2009,62).
Sometimes"theforestisatunnelofaspanninglight"(Holmstrm2009,91).
ThesedepictionsoftheforestarethusalwaysconnectedtothewaysthatspaceaffectsAnna;theliteraryexpressionofspacecannotbeseparatedfromthesensesandsensationofthepersonperceivingthem—inonesenseAnnaherselffunctionsasthemechanicalcameraobscura:theperspectiveisrestrictedonlytocoverheraffectiveobservations.
Theforestisdeterritorializedintoanaffec-tivespacewhenAnnawanderstherealone:thepoliticalaspectslinkedtotheforestnolongerprevail.
InthiswaytheforestisdeterritorializedintoaregimeofsubjectivesignsasAnna'spassionsandconsciousnesscolorthespace(seeDeleuzeandGuattari1988,508).
Theeventsofthestorytakeplaceintheforest,whereAnnaandherthreefriendshavehiredasmallcabinwithonlybasicamenities,suchasanoutdoortoilet.
Theyhavenonearbyneighborsandtheonlyvisitortheymeetistheirlandlord,anelderlyman.
Theircarisparkedhiddenbehindthecabin,becausetheydonotwanttoleaveanysignsofthemselveslivinginthecabin.
Thegravelroadorratherthepathleadingtothecabinhasnoname,norhasthecabin,andforAnnatheyareboth"piecesofaworldthathasbeenforgotten"(Holmstrm2009,54).
AttheverybeginningofthechapterAnnaisdepictedatapointofbecomingsomethingelse,attheedgeoftransformation:shesitsaloneinthekitchenlookingattheceiling,thewalls,andthekitchenware,butslowlyshestartstobreathheavily,exposingherteethwhilesensingaspatialimageinsidehermind.
SheimaginestheBigBangtakingplaceatthatverymoment,andsherealizesthattheemptyspaceisexpandingmoreandmore,andthereisnowaytoescapeit.
Annafeelssmallandinsignificant.
RightafterthissceneAnnaisdepictedas"havingthelookofanani-mal"6(Holmstrm2009,56).
Inthetotalityof"TheYearoftheWolf"ananimal,namelyawolf,andhumanbeingsareintertwinedinacomplicated11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…244manner.
ThelandlordcomestowarnAnnaandhercompanionsofapackofwolvesthathasbeenseenandheardintheforest,andheisabouttoformateamtohuntthemdown.
Thiscausesaseriousconflictbetweenhimandtheeco-activists,forwhomthewolveshaveeveryrighttoliveandwanderinthewoods.
Theyarguefiercelyaboutthewolvesandtheirrightswithdramaticconsequences.
LottaandMarkus,twoofthecabindwellers,callsomeothereco-activists,whoarriveinthewoodswithdrumsandhornstowarnthewolves,causingthelocalhuntinggrouptobecomeveryupsetandangry.
Thewolvesalsoplayanimportantroleinthewaysthechapterbuildstheterritoryoftheforest.
InAThousandPlateaus,DeleuzeandGuattari(1988,310–50)discusshowaterritoryisconstitutedasanareawithboundariesseparatingitfromtheoutermilieu.
Arefrainorritornello(ritournelle)markstheboundariesoftheterritory.
Arefrainisnotjustanyborderline,butitdrawsanexpressiverelationbetweentheterritoryanditsmilieu.
Theterritoryitselfisanassemblageanditsmaintenanceandcohe-sionisalsoregulatedbytherefrain.
Therefrainisarhythmicfeaturebecauseitkeepsonframingtheterritoryagainandagain.
Refrainsalsomarknewterritoriesthroughde-andreterritorializations.
Theterritorycanbetransformedintoaneworexpandedareaorbestabilizedagain.
InHolmstrm's"TheYearoftheWolf,"awolfbecomesanexpressiveele-mentdelineatingtheterritoryoftheforest,orratheramore-than-humanassemblage,formedbyAnnaandthewolf,becomestherefraindefiningthecontoursoftheforest.
ThewolfandthepackformedbyAnnaandthewolffunctionasarefrain—theirassemblage,asDeleuzeandGuattari(1988,232)note,"drawsaterritoryanddevelopsintoterritorialmotifsandlandscapes.
"TheencountersbetweenAnnaandthewolfarealsodeterritorializingtheforestintothespaceoftheuncanny,sincetheseencountersbetweenthemarefabulatedinamannerwhichexpandsovernaturallawsandeverydaylife:wolvesandhumansrarelyintertwineinsuchfriendlywaysasHolmstrmdescribesthem.
Producinganeerieatmo-sphere,thesescenesalsoengenderthepotentialityoffoundinganewkindofcollectiveconsistingofwildanimalsandhumansinteractingwitheachotherinanon-violentway.
Theuncannyforestopensupanewsetofspa-tialrelationsthatenablethe"more-than-human"peopletocome.
WhenAnnameetsthewolfforthefirsttime,shetakesthecreaturetobeaskinnyandshaggyGermanshepherd.
Thewolfstandsatthecornerofthecabin'soutdoortoiletandstaresather.
AfterrealizingitisawolfAnnaisstartled.
ThewolfkeepsreturningtothecabinyardalwayswhenK.
KURIKKA245Annaisalone,andsoonsheissousedtotheshe-wolfthatsheevenfeedsher.
WhenAnnawandersaloneintheforest,thewolfisalwaysnearher,makingherselfbothseenandheard:Dhon[Anna]nrsnrskogenochletarefterenvgruntdetttagallrethedjashonfrandragngendeneftermiddagen,ddenlngautdragnatonennrhenne.
Denensammavargenvndernosenmothimlenochylar.
Honylarhgt,lngtande,lnge,ochidagfrhonsvar.
(Holmstrm2009,93)Whenshe[Anna]reachesthebrushwoodandlooksforawayaroundthethicketsheisstoppedforthesecondtimethisafternoonwhenalong,drawnoutsoundreachesher.
Thelonesomewolfturnsitsnosetowardstheskyandhowls.
She[thewolf]howlsloud,longing,foralongtime,andtodayshegetsareply.
InHolmstrm'snoveltheterritoryoftheforestisdescribedasaspacewheremore-than-humanencountersaremadepossibleinthemannerof"othernesswithin"—bylettinghumananimositysurface.
InthemanysceneswhereAnnaundergoesmetamorphicchanges,theforestispicturedasamanifestationofaffect.
AsDeleuzeandGuattari(1994,169)write:"Affectsarepreciselythesenonhumanbecomingsofman.
"Slowly,Annaisdescribedasincreasinglydevelopingthegesturesandappearanceofananimal,sometimesfeelingastrongurgeto"growlandgrasptheir[herfriends']throatswithherteeth"(Holmstrm2009,89).
Thewolf,ontheotherhand,issometimesdepictedasadocilepet-likecreature.
ButAnna'sfriends,Sebbe,Lotta,andMarkus,alsobecomejuxtaposedwithwolves.
Thenarrationgivesspecialattentiontothefactthattheshe-wolfformsapackwiththreeotherwolves,justlikeAnnaformsapackwithherthreefriends.
Inthiswaytheforestisdeterritorializedintoaspaceinwhichhumanbeingsbecomeanimals.
InthecaseofAnnahertransformationalsohelpshertoescapefromthedespairandsadnessshehasfelteversinceherbestfriendIdacommittedsuicide.
Becomingananimalisthevanish-ingpointforAnna.
Justasthehumancharactersareanimalized,theshe-wolfishumanized.
Thehumanandthenon-humanaresetinaflipped,reversedorder,whichisameanstothematizethewaysthecameraobscuradevicefunctions:theuserofthedeviceseestheobjectupsidedown.
Thecharacterizationinthetextisthusbasedon"beingdouble,"theduplicationofAnnaandthewolfenablingtheuncannytobemanifestastheghost-likefigurationofthesecreatures:Annaisdoubledinherwolf-likegestures,andthewolfisgiven11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…246aghostlyadditionwhensheisdescribedasresemblingahuman(seeRoyle2003,16).
Inmanyscenesin"TheYearoftheWolf"thewolfisananthro-pomorphicfigure.
AflashbacktakesthereaderintoAnna'schildhood.
ThenarratorrecountshowAnna'smother,whosuffersfromseveremen-talproblems,tookherfive-year-olddaughtertotheforestandleftherthere.
Annawaitedandwaitedforhermothertoreturnandtakeherhome,butsheneverdid.
AfteralongtimeAnnahearsstepsrunningtowardherandsoonseesthefaceofafurrydogwithyelloweyes.
Annarealizesthatitisnotadogbutsomeotheranimal,andbeginscryingandreachingoutwithherhandsasifsomebodywastheretotakeherinherarms.
SeeingAnnacrying,thewolf—forthatiswhatitis—stopsitsloudnoisesandbeginssniffingAnna.
ThewolflooksintoAnna'seyes,turnsandstandsclosebythegirl.
Anna,whoisnolongercrying,takesholdofthewolf'sfurandtogethertheywalkoutofthewoods.
Inthisflashbackreminiscencethewolfisaguideorasurrogatemothertakingcareofthelittlegirl.
BynarratingthisscenefromAnna'spast,therefrainofthemore-than-humanassemblageisenhancedinthestory.
Thisstoryofthepastalsobringsnewelementstotheterritorializationoftheforestbydeterritorializingittofillitwithaffectsassociatedwithalonenessandabandonment.
Therefrainofthewolfturnsintoalineofflight(lignedefuit),awaytowardtransformationandchange—thewolffunctionsasapositivelineofflight(seeDeleuzeandGuattari1988,133),sincesheenablesAnnatoliterallyescapefromthelonelinessanddisappointmentofbeingabandonedinthemiddleoftheforest.
AttheveryendofthechapterthesceneofthewolfleadingAnnaawayfromherchildhoodforestisreterritorializedintoanothersetting,asthepasteventofAnna'schildhoodisbroughttothepresentday.
Annaisaloneinthecabinwhensheseesthewolfstandingoutside.
Annaisnolongerastonishedbythewolf;shekeepslookingatthewolf,shemeetsheryelloweyesandnods.
Annastepsoutsideandforamomentitseemsthatthewolfwillrunaway.
Butsheremainsstandingstill,waitingforAnna,andtogethersidebysidetheywalkdeeperanddeeperintotheforestandvanishthere.
TheforestinHolmstrm'sproseundergoesseveraltransformations,constantlydeterritorializingintonewassemblages.
Holmstrm'sforestsunderlinethefactthattheseareindeedplacesofhighbiodiversityinwhichmanyformsoflife—bothhumanandnon-human—interactwitheachotherinaffectiveencounters.
TheforestforHolmstrmappearsasaliteralvanishingpoint,anescapefromconsumercapitalismandfromlifeitself—K.
KURIKKA247whenAnnaandthewolfdisappearintothedarkforest,itbecomesaspaceofabsolutedeterritorialization,aspaceofdeath.
Simultaneously,thefor-estalsopointstoapotentialfuture-to-come;thecomplicatedmannerofcombiningethicalandecologicalissuesintheencounterbetweenAnnaandthewolfalsopointstoapotentiallynewkindofcollective:anassem-blageofhumansandnon-humansinhabitingthesamespace.
InHolmstrm'sbook,however,thispotentialisonlypartiallyfulfilled:Annaandthewolfstepintothevanishingpoint.
DisappearingintoSmoothForestHenrikaRingbom's7novelMartinaDagerslngtan(1998;"MartinaDager'sLonging")buildsanoppositionalspatialimagerybetweenHelsinkiandasmallforest,reachablebylocalcitybuses,situatedinthevicinityofthecity.
Thedescribedspacesofthenoveldonotfunctionasabackgroundtothestorylines;insteadspatialitycomestothefore,bothintermsofhappeningsandintermsoftextualspatiality.
Asthenovelcon-structsitsspatialimagery,itbothcreatesanoppositionbetweenthecityandtheforest,anddeconstructsthisoppositionalpositioning.
Bothspacesaredefinedinrelationtoeachother.
Inthecourseofthenovelthecityandtheforestarebothdepictedintermsoftransformation,buttheybothalsofunctionasspacesthatenablethemetamorphosisofthemaincharac-ter,Martina.
Thefirst-personnarratorofthenovel,MartinaDager,isaneconomistworkingattheBankofFinland,themostpowerfulmonetaryinstitutioninthenation.
ThebankislocatedindowntownHelsinki,inoneofthemostprestigiousquartersofthecapital.
Thebuildingismadeofstone,andforMartinathebuildingis"heavyandmonolithic"(Ringbom1998,11).
Martinalivesatwalkingdistancefromherworkplace,andeverydayshewalkstothebankalongthestreetsofHelsinki.
Whennarratingherroute,Martinanamesstreetsandstreetcorners,buildings,bridgesandstatues,thusmakingherwalkaliteralcartography.
ShetakesnoticeofbuildingsthatrepresenttheFinnishnationanditsinstitutionalpower,suchasthePresidentialPalaceortheEvangelicalLutheranCathedral.
WhenMartinatravelsbycitybus,shecarefullygivesherstartingpointsandendpointsaccordingtotheircoordinatesonamap.
ThewayinwhichMartinaperceivesthesurroundingcitycanberegardedasanexampleofstriatedspace(l'espacestrié)inthemannerofthegeophilosophyofDeleuzeandGuattari.
Instriatedspaceonegoes11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…248fromonepointtoanother(DeleuzeandGuattari1988,478),thewayMartinadoeseverymorningasshewalksfromhometoherworkplace.
Striatedspacesarehighlyorganizedspatialforms,suchasthestreetsofHelsinki,whicharestructuredaccordingtoacityplan.
Striatedspacesaredividedintoseparatesections,likethequartersMartinamentionsinhernarrations.
AsDeleuzeandGuattari(1988,149)pointout,striatedspaceisoneofmeasuresandproperties,andwhilewalkinginthecityMartina'sperceptionofthecapitalisbasedonmeasuringandthemeasurablevisualqualitiesderivedfromhervision:striatedspaceisaspacethatisseen.
DeleuzeandGuattari(1988,478–51)alsodefinestriatedspacesashierarchicalspacesofinstitutionalpower,andthecityofHelsinkiforMartinaseemstobefilledwithpowerfulinstitutionswiththeirgrandbuildingsmadeofstone.
InRingbom'snovel,Martina'sjobemphasizescapitalistpower,forMartinaisbuildingasuccessfulcareerintheBankofFinland.
Insidethebuilding,intheprivacyofherworkingarea,shefeelssafe.
ThestriatedspaceswiththeirsystematicorganizationcalmMartina.
Ifduringherwalkingroutessheisconfrontedwithgraffitionthewalls,litterontheground,orgarbagetrucks,shebecomesstartledanddistressed.
TheHelsinkithatMartinadescribesisrecognizablytheFinnishcapital.
Butthereferentialityofthedepictionofthecityismixedwithfabulationinthewaythatthenovelenterstheareaofthepowersofthefalse:realgeoplacesaremixedwithfalseandimaginaryones.
Inthenovelariverrunsthroughthecity,whereasintheactualcapitalthereisnosuchthing.
Onherwalkingtoursinthemorningsandgraduallyinthemiddleofherworkingdays,Martinatakesawalkalongtheriversideunderthe"OperaBridge.
"BeneaththebridgeMartinamakesaspaceofherown:"Hereunderthebridgetherearenosharpcontours,colorsorlight,nothingmovesorblinks.
Onlyicewithitsroughgrayandwhite,spottysurfaceandthebridgevaultoverarchingit"(Ringbom1998,39).
Sittingthere,Martinadoesnotperceivethesharplinesandclosedformsthataretypicalofstriatedspaces.
UnderneaththebridgeMartinaseespeopledifferentfromthosesheencountersonthestreetsofHelsinki,suchassmallboysthrowingsnowballsorawomanwhoappearshomeless.
ThescenewhereMartinasitsunderthebridgemarksachangeinthenovelandinitsdepictionofthecity.
Thischangecanbeconceptualizedasthetransformationofstriatedspaceintosmoothspace(l'espacelisse).
DeleuzeandGuattari(1988,474–5,478)definesmoothspaceasacoun-terpointtostriatedspace.
Smoothspacesareintensivespaceswithoutbor-dersorlimits.
SmoothspacecannotbedividedintoseparatesectionsorK.
KURIKKA249hierarchicaldivisions.
Thesetwospatialvariations,thesmoothandthestriated,canalsoreflecteachotherinsuchawaythattheconnectionbetweenthembecomesaprocessofmetamorphosis.
InRingbom'snovelmanystriatedspaces,suchasherroominthebank,begintobecomesomethingother,forwhenMartinasitsthereherthoughtsandmindbegintofillupwithimagesofsmoothspaces,oftherunningriverandotherwateryimagesratherthanthepreviouscalculationsandstatistics.
ForDeleuzeandGuattari(1988,481)theoceanwithitswavesandflowsisasmoothspaceparexcellence.
InthecourseofthenovelMartinafeelsevermorefrequentlyanurgetolivebywater.
Flowingwaterintheformoftheriverornight-timedreamsfilledwiththeflowofsoftwatermarktheprocessofMartina'stransformation:sheisbecomingsomethingotherthanahighlyorganizedeconomist.
Martina'smetamorphosisisgivenspa-tialexpressioninthenovel.
InRingbom'snovelaconcretespatialturntakesplacewhenstriatedspaceisturnedintosmoothspace,thoughthisturncanalsobelinkedtofabulationandtheuncanny.
Atthebeginningofthenovel,MartinaappearsasaliteralcartographerwhomapsaHelsinkiwhichisrecogniz-abletothosewhoknowit.
Thenovelisamap;itiseasytofollowitstrails.
Butthereaderalsogetslostinthecity,sinceMartinaaddsstrangeele-mentstothelandscape,thuscausingthemapofthecitytochange.
InRingbom'snovelHelsinkibecomesaspaceoftheuncanny,aspaceofestrangementnotonlytoMartina,butalsotoareaderwhoisfamiliarwiththe"real"Helsinki.
Fabulatingthecityinthisdoublemanner,bybringingthestrangeandthefamiliartogether,bycombiningreferentialitywiththeimaginary,pointstothepotentialofHelsinkibecomingsomethingother.
TomConley(2005,258),writingonDeleuzianspatialconcepts,arguesthatitisthetaskoftheartisttomakenon-placesvisiblethroughcreativemanipulation.
Ringbomisdoingpreciselythisbymakingthenon-placesatthebordersofeverydayspacesvisible,whethertheyareimaginaryorexpressthepotentialityofreferentialspaces.
DeleuzeandGuattari(1988,491)definestriatedspaceasanopticalspace,referringtohowitisusuallyperceivedthroughvisionandmostlyfromadistance.
Smoothspace,ontheotherhand,isahapticandtactilespace;itissensedthroughtouch.
InRingbom'snovel,Martina'snarrationoftheseseparatespaceschangesaccordingly.
ThesedifferencesinthenarrationofthespacesareconnectedtothechangestakingplaceinMartina'spersonality.
ThispointstoEricPrieto's(2011,23–4)ideaofspatialorientationinwhichspatialnarrationisconnectedtothemesof11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…250personality.
InstriatedspacesMartinaorientatesonthebasisofvisualper-ceptions.
Thetransformationfromstriatedtosmoothspaceisdepictedespeciallythroughhearing.
BytheriversideMartinahearsnoisesfromafarandcloseathand,andthissimultaneouslydistantandcloseauditorysen-sationmakesMartinaonewiththeriverside.
ThenovelgivesnoexplanationforthechangesthatMartina'spersonal-ityundergoes;theyjustseemtohappen.
Andthis,ofcourse,addstotheuncannyatmosphereofthenovel.
Slowly,Martinabeginstohavestrangesensations,asifaforestoutsideHelsinkiiscallingher.
Sheinterruptshereverydayroutinestotakebustripstothesuburbs,andduringoneofthesetripsshestepsoutofthebusandtakesawalkinasmallforest.
Thisfirsttriptotheforesttakesplacebyaccident,sincefornoparticularreasonshedecidestohopoutofthebus.
Shebeginstowalktowardtheforestasifitwasheroriginaldestination,althoughshehasneverbeentherebefore.
Martinacannotrememberthelasttimeshevisitedaforest,andthusshefeelspuzzledandalittlefrightenedwhenshemovesdeeperintoit.
Shepushesthebranchesaside,andinthemiddleofthetreesandbrushwoodseesameadowinwhichstandsalonelystump.
Shetouchesthestumpandsensesitsmoisturewhenasuddentappingbreaksthesilenceoftheforest.
TheknocksharpensMartina'ssenses:"Ihearmyheartbeatinginmybreastandbloodpoundinginmytemples.
"(Ringbom1998,71)InthemiddleoftheforestMartinacanevenhearherownbloodrunning,shesmellsthedecomposingsoilandthesproutingleaves;sittingonthestumpshefeelsitssharpedgeagainstherthighs.
Inthisscenethemeadowintheforestisperceivedinhapticandtactileterms,andtheforestisnarratednotthroughvisionbutbyhearing,smelling,andtouching.
Inotherwords,theforestappearsasasmoothspace.
Martinareturnstotheforestmanytimes.
Everytimethereshenarratesherperceptionsandsensationsbymeansoftouchingandhearing.
AlongwiththechangesinMartina'ssensations,thedepictionofthematerialspatialityoftheforestchanges.
OnceMartinadescribesherselfurinatingintheforest,whichmakesherfeellikealittlegirlagain.
Inthemiddleoftheforest,inthemiddleofthesmellofherurineandthedifferentscentsoftheforest,Martinaisabletolosealltherestraintsofherage,hersex,andherprofessionalidentity.
ThismomentofsensationsisalsofilledwiththeeventofMartina'sbecomingother.
Thisprocessofbecomingisalsomadeclearontheleveloftextualspatiality,bythepositioningofwordsandlines.
Inotherwords,thissceneeffectuatesadeterritorializationintheK.
KURIKKA251totalityofthenovel'scompositionasthetextualspacingofthelineschangesinradicalways:Utgliderenkroppphukbakomenenbuske.
Denvdraridenfuktiga,svalaluften,stirrarpskogensombadarimnskenochserfltavmrkerochljusochidemminstarrelse.
Dofternabljarsommolnutannamn(…).
(Ringbom1998,127)Outglidesabodycrouchingbehindajuniperbush.
Itsmellsthemoist,coolair,gazesattheforestwhichbathesinthemoonlightandseesafieldofdarknessandlightandthetiniestmovementsinthem.
Scentsflowlikecloudswithoutname(…).
InthissceneatransformationtakesplaceasMartina'sprosenarrationturnsintoverse.
Martinaalsobecomesother,somethingelse,somethinguncanny,somethingmovingawayfromhumancontours:shebecomesabodywithnootherrestraintsbutanemergingrelationshiptothesur-roundingspatialitysensedbysmelling,hearing,andseeing.
Thecontoursreferringtoherhumanbodyorappearanceortoherprofessionalorsexualidentitydisappear,buttheemergingbodycannotbecategorizedasanynon-humancreature,suchasananimal.
Thisscenegivesexpressiontothemovementbetweenhumanandnon-humanentitiesthatiswithoutcatego-rization.
Thetransformationinthetextualspatialityofthescenegivesexpressiontometamorphosisasaspatialevent,enhancingthedifferencesbetweenproseandpoeticwriting.
Afterthisscene,Martinareturnstotheforesttoencounteratotallydifferentkindofspatiality.
Theforestisnolongerasmoothspace,sinceitisfilledwithmachinesandspotlightsandworkmenabouttocuttheforestdown.
Thedemonstratorsgatheredtheretoopposethedecimationplaydrumsandsing,butallinvain.
Thissceneactualizesthebeginningofthetransformationfromsmoothforestintoastriatedspace,asiftodenotethatthecapitalistcultureMartinahastriedtoescapeisenteringtheforest,profitingfromthecutdowntrees.
ThroughoutthenoveltheforestisdepictedasanoppositionalanddistinctspaceinrelationtotheurbanHelsinki,butthissceneactualizeshowcapitalisminvadeseveryspace.
11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…252Attheveryendofthenovel,Martinastandsbytheriverwiththehome-lesswoman.
Martinaopensherhandbag,pullsoutherkeysandIDcard,herwallet,andthrowsthemintotherunningwaterasifsheisthrowingawayalltheemblemsofcapitalistsociety.
InthissceneMartinaherselfchoosessmoothspaceratherthanremaininginthestriatedspatialityofthecitycen-ter,butbychoosingitshealsochoosestosituateherselfoutsidetheprevail-ingsociety.
Thesmallforest,however,marksthebeginningofMartina'schoice.
Theforestisdepictedastheactualspaceofhermetamorphosis,andthefinalscenebytheriversideappearsmerelytobethelogicalendingofhertransformation,ofgettingridofallstringsattachedtobeingacitizenofthecity.
TheforestisthespaceforopeningupMartina'ssenses—thereshebeginstoturnintoacreaturewithothersensesbesidesvision.
Ringbom'snovelactualizesamultitudeofspatialperceptions,sinceitincludesbothopticalandhapticwaysofperceivingspaces.
Thenovelalsoshowshowvariousspacesaredefinedinrelationtoeachother,asisthecasewiththeurbanspaceofthecityandthespaceoftheforestland.
Thenovelalsohighlightsthereciprocityofaffectiveprocessesandespeciallythewaystheyareconnectedtospaces;spaces,whetherthecityorthefor-est,affectMartina'spersonalitybutthesespacesarealsoaffectedbyMartina:thefabulativefacultyofliteraturemakesitpossibletonarratethisinterrelatednessofaffectionsbymeansofchangesinthenarration.
Conclusion:UncannyForestastheExpressionofLateModernEstrangementInthischapterIhavediscussedtheuncannyforestinrecentFinland-Swedishprosefiction.
Allthreeworksdescribeforestsasspacesoftrans-formationandmetamorphosis.
Theforeststhemselvesaresetinthemiddleoftransformativeprocesses.
ByusingspatialconceptsasproposedbyDeleuzeandGuattari,suchasre-anddeterritorializationandsmoothandstriatedspaces,Ihavecapturedthespatialchangestakingplaceinthefor-ests.
DrawingonDeleuzeandGuattari,Ihaveproposedthatspatiality,perception,andaffectivityaretiedtogether.
Ihavemoreovershownhowspacesarenotmerelyperceivedvisuallybutinamultisensorywaybyhear-ing,smelling,andtouching.
Thethreechosentexts—KajKorkea-aho'snovel,JohannaHolmstrm's"hybrid"fiction,andHenrikaRingbom'snovel—bringforthquestionsandthemesthatarelinkedtonotionsofhumansubjectivity.
TheyallK.
KURIKKA253describehumanandnon-humanencountersandplacethemwithintheforest,whichthenbecomesthelocationoftheseencounters.
Ifsuchaspaceas"atypicalFinnishforest"everexisted,thesetextsneitherrepre-sentnorrecreateit.
Thesetextsarefilledwithethical,ideological,andspiritualproblematics.
MyreadingthusdisagreeswithPerttiLassila'sviewwhenhedefinespost-wardepictionsofFinnishforestsandnatureas"commercialized.
"Insteadofrepresentingandreferringto"real"forests,thesenovelsrelyonthefabulativeforcesofliteratureandthepowersofthefalsetoimaginenewspatialitiesaswellasspatialitiesanew.
Bybringingtogetherelementsfrom"real"and"imaginary"forests,thesetextsalsopointtospacestocome,tothepotentialofformingnewspaces,wherenon-humanandhumancreaturesareimaginedaslivingtogetherinpeace.
Isuggestthatthesethreetextspointtoanew"peopletocome"intheDeleuziansenseoftheconcept,acollectivethatallowsbothhumansandnon-humanstoexistsidebyside.
Althoughthisnewcollectiveisnotachievedinthenovels,itneverthelessexistsasapotentiality.
Ihavearguedthatthesethreetextsparticipateinthegenreoftheuncanny.
Bydescribingtheforestsasuncannyspaces,thenovelsgiveexpressiontotheexperiencesofestrangementandunhomelinesspertinentinlatemodernsocieties.
Theforestenablesthedepictionofuncannyothernessthathumansubjectsoftenexperience.
TherecentreturntotheuncannythatseeminglytakesplaceintheforestsofFinland-Swedishfictionisperhapsconnectedwiththepredominantlyurbancharacteroflatemodernsociety.
AlthoughFinnishpeopletodaywouldappeartohaveacloserelationshipwiththefor-est,itstillpersistsas"theother,"andverymanyFinnshaveanonchalantrelationtotheforestandmanyurbanizedFinnsareevenestrangedfromit.
Intheworksdiscussedinthischapter,theuncannybecomesdoubled:asworksofarttheycarryonthelongtraditionoftheuncannyforest,whichisonewaytoexpresstheexperienceofunhomeliness.
Atthesametime,thethreenovelsthemselvesexpresstheexperienceofestrangementtypicaloflatemodernitybydepictingforestsasuncannyspaces.
Thethreeworksinterconnecttheseexperiencesinspatialterms,buttheydoitindifferentways.
InKorkea-aho'snoveltheOtherissituatedwithinthehumansubject,sincethenon-humanmonsterreflectsthemaincharacter'sdespairandanxiety.
InHolmstrm'stexttheuncannyismani-festedasanencounterwithaliteralOther,asAnnaandthewolfbecomesoclosetoeachotherthatthehumannolongerappearsashumanandthewolfisnolongerjustananimal.
InRingbom'snoveltheuncannyOtheractuallyisthehumansubject,withMartinaexperiencingametamorphosis11UNCANNYSPACESOFTRANSFORMATION:FABULATIONS…254intoabodilycreaturebeyondcategorization.
Thefabulationoftheuncannyforestcritiquesthehumanconditioninlatemoderncapitalismbutsimultaneouslyparticipatesinitbyreterritorializingitsfeatures.
Notes1.
AlthoughtheforesthasalwaysbeenanimportantthemeandsettinginFinnishliterature,therehardlyexistanydetailedandsystematicstudiesonitinthefieldofFinnishliterarystudiesbesidesLassila'svolume.
Perhapsthisisduetothefactthattheforestwithitsvariousmeanings(economic,national,recreational,sacred)istakenforgranted;themeaningshavebecome"sharedproperty,"almoststereotypes,anditisonlyrecently,withthedevelopmentofecocriticism,environmentalstudies,andposthumanism,thatresearchershavebeguntoquestionthetraditionalapproachestowardtheforestanditsmeanings.
2.
Myreadingsfocusmainlyonthecontentsofthestorylines,sinceitisnotpossibletoanalyzethelinguisticformsandexpressionsofthesetextsinthischapter,althoughtheyarecrucialinshapingthespatialitiesofliterature.
3.
KajKorkea-aho(b.
1983)istheFinland-Swedishauthorofthreenovels.
Hisfirstnovel(Setillmigsomlitenr)waspublishedin2009andthelatest(Ondaboken)in2016.
WithTedForsstrmKorkea-ahohaspublishedtwohumorousjuvenilenovels,ofwhichthefirstZoo!
ViralGeniuses(2017)wasnominatedasacandidatefortheFinlandiaJuniorPrize.
4.
AlltranslationsfromSwedishintoEnglisharemine.
5.
Finland-SwedishauthorJohannaHolmstrm(b.
1981)haspublishedfivenovelsaswellascollectionsofshortstoriessince2003.
In2009CameraObscurareceivedaPrizeinLiteratureissuedbytheSwedishnewspaperSvenskaDagbladet.
6.
ThemetamorphosisofawomanintoawolfisnotararethemeinFinnishliteratureandHolmstrm'stextisanothervariationofit.
Perhapsthebest-knownexampleofthistraditionisSudenmorsian(1928;"TheWolf'sBride")byAinoKallas.
HenrikaRingbom'snovel,onwhichIfocuslater,canalsobelinkedtothistradition.
Ringbom'snovelevenplacesaquotationfromKallas'novelwithanothercitationfromDerSteppenwolf(1927;"Steppenwolf")byHermannHesseasmottosforthenovel.
Withinthelimitedlengthofthischapteritisunfortunatelynotpossibletodiscussthetraditionof"were-wolves"orshe-wolvesaspartofthedepictionsoftheforest.
7.
HenrikaRingbom(b.
1962)isaFinland-Swedishpoetandnovelistwhohaspublishedfivecollectionsofpoetry(since1988)andtwonovels.
Ringbomalsoworksasatranslator.
K.
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