The Death of Giselle
Linnea returns home, her hair tied up in a ballet bun, even though it is clear she will never dance again. Joel has halted eight years ago to wait for her, left behind sitting on the nursery floor, holding a toy car. Linnea is dangerous, Linnea is sparkling, Linnea is a flower with it’s neck wrung. Joel is the only one who allows her to be who she is, whichever of her different reflections it may be.
The future is plunged into an impossible course, and far out on the lake the arctic loon hails.
The Death of Giselle was nominated for the Runeberg Prize in 2012.
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I was washed back to the cabin yard along the rising tide like a piece of driftwood, I kept hitting the bottom. I don’t know whether I had lost my mind already there, looking at the ant nest, or later. Propably a lot earlier.
Linnea was crouching in front of the stump around which I had eight years earlier chased a girl whose hair didn’t have one tangle in them and whose knees were strong enough for her to run anywhere. Linnea’s back was turned on me and her cervical vertebra wanted to look straight into the sky and into the sun through her skin. And instead of skin Linnea had on a cloth made from translucent twin flower petal. She must have heard me coming. Perhaps she had heard the tidewater ripple on the paving.
”Joel”, she said. And she said: ”I found some wood sorrel.”
”Enoranta’s language is poetically beautiful. Worn out metaphors have been replaced with fresh but natural sentences. Enoranta’s third novel is again a demonstration of the young author’s skill as a storyteller.” – Heli Keskinen, Aamulehti newspaper
“Enoranta’s language is still in a class of it’s own and the structure of the novel is fine.” – Mari Viertola, Turun Sanomat newspaper
”The Death of Giselle is an atmospheric, dramatic novel. It is a short narrative to be engorged at once, and it has poetic air to it along with drifting description but also interesting characters…” – Mikko, Kirjavinkit webpage
”Enoranta skilfully gets the reader hooked on the novel.” – Päivi Heikkilä-Halttunen, Lastenkirjahylly blog
“The language of the novel is poetic and heavy at the same time. The metaphors hit home and the sentences repeat themselves on purpose… Enoranta’s sentences foreshadow the sinister that is about to happen.” – Oona Juutinen, Lumooja magazine