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Elise Karlsson

Trash

Hélène has just left a long-term relationship behind her when she receives a job offer that involves a world which she turned her back on many years ago and which brings unpleasant memories to the surface. Still she feels a certain curiosity, regarding her own past and regarding questions that have been left unanswered for way too long.

Serner and Mikaela rule the Underworld – a small, exclusive theatre company where a privileged cultural elite are free to explore and push the boundaries for what is acceptable. At the same time, a strict hierarchy maintains and controls the social interactions. Playwright Mikaela is rarely present, but it is her texts that they perform, her words that they give voice to. And it is unclear what part her husband, the pompous Serner, actually plays.

This time the company is doing A Midsummer Night’s Dream and Hélène becomes immersed in the production despite her reservations. Yet again she is seduced by this unsettling infernal pit, full of dissolving boundaries, mirroring and ambiguous desire, life that imitates fiction and fiction that imitates life. Everything moves towards an opening night and a boiling point, when things mercilessly start to shift in the wrong direction. Just like last time.

Elise

About the author

Karlsson

Elise Karlsson (b. 1981) is an author, editor and literary critic. She made her debut in 2007, and has been nominated for several prestigious prizes, inclusing Borås Tidning’s Debutant Prize for Run (2007), and Swedish Radio’s Novel Prize for The Line (2016). Her latest novel, The Border, was published in 2018.

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About the book

Hélène has just left a long-term relationship behind her when she receives a job offer that involves a world which she turned her back on many years ago and which brings unpleasant memories to the surface. Still she feels a certain curiosity, regarding her own past and regarding questions that have been left unanswered for way too long.

Serner and Mikaela rule the Underworld – a small, exclusive theatre company where a privileged cultural elite are free to explore and push the boundaries for what is acceptable. At the same time, a strict hierarchy maintains and controls the social interactions. Playwright Mikaela is rarely present, but it is her texts that they perform, her words that they give voice to. And it is unclear what part her husband, the pompous Serner, actually plays.

This time the company is doing A Midsummer Night’s Dream and Hélène becomes immersed in the production despite her reservations. Yet again she is seduced by this unsettling infernal pit, full of dissolving boundaries, mirroring and ambiguous desire, life that imitates fiction and fiction that imitates life. Everything moves towards an opening night and a boiling point, when things mercilessly start to shift in the wrong direction. Just like last time.

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