Band 19, Heft 1 - Special issue: Phenomenological approaches to Tove Jansson’s fiction, Issue Editors: Sara Heinämaa and Joona Taipale

It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition.

This article analyzes different pathologies of social affirmation and examines the grounds of social recognition from the point of view of the concept of expression. The red thread of the text is provided by Tove Jansson’s fictional works, and the focus will be on three cases in particular (the magic hat, the invisible girl and the figure of the Groke). The article sets out from the phenomenological distinction between the sensible expression, on the one hand, and the expressed content, on the other. By focusing on the three cases, the article distinguishes and analyses the fundamental structures of communal life and explicates different ways in which social affirmation can be one-sided or distorted.

This article investigates the emotional undercurrents of Tove Jansson’s Moominvalley in November . I argue that one of the main characters of Jansson’s book is the autumn forest that surrounds the abandoned Moomin house. The decomposing forest is not just an emblem of the inner lives of the guests that gather in the house but is an active character itself: an ambiguous life form that creeps in the house and must be expelled from its living core. I further demonstrate that the emotion of disgust has a crucial role in Jansson’s narrative, and that an adequate analysis of the intentional content of disgust allows us to see what is at issue in the relations between the characters. In my reading, the main insight of Tove Jansson’s last Moomin book is not about loss or sorrow but is about the human capacity to begin anew by composing novel wholes from scraps.

This article explores the connections between Nietzsche’s Also Sprach Zarathustra and Tove Jansson and the world of the Moomins. It begins with a short summary of the impact of Nietzsche in the Nordic countries and of his most important book, focusing on passages that are of particular relevance for the analyses that follow. It then proceeds to explore its meaning and significance for Jansson in three sections. The first concerns Atos Wirtanen, the writer and politician with whom she lived for ten years, and who encouraged her to publish her first book, while he himself was completing a book on Nietzsche. In the second section, the article analyzes an early semi-autobiographical literary experiment from the Jansson family archive that displays her as a passionate reader of Nietzsche long before her meeting with Wirtanen. In the third and last section, the framework of the Zarathustra narrative is used to interpret some of the figures and scenes from the Moomin books.