Nordahl Grieg


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Grieg, Nordahl

 

Born Nov. 1, 1902, in Bergen; died Dec. 2, 1943, near Berlin. Norwegian writer.

Grieg’s first collection of poems. Round the Cape of Good Hope (1922). the novel The Ship Sails On (1924; Russian translation, 1926), and the collection of poems Stones in the Stream (1925) reflect impressions in romantic form from Grieg’s travels. He studied philology at the universities of Oslo and Oxford. In 1925, Grieg wrote a dissertation on R. Kipling and in 1932, a book of essays The Young Dead Ones (on J. Keats, P. B. Shelley, G. G. Byron, and others). In 1927 he published Chinese Days and an expressionist drama on a biblical theme. Barabbas, in which the principal theme of Grieg’s work first appears—the necessity and justification of revolution. The optimistic motifs of the collection of lyric poetry Norway in Our Hearts (1929) give way to social pessimism in the drama The Atlantic Ocean (1932; Russian translation, 1935). After staying in the USSR from 1933 to 1935, Grieg became a convinced Marxist. In the drama Our Glory and Our Might (1935; Russian translation, 1936) a new hero appeared—the people. In the play But Tomorrow . . .(1936) the theme of antagonism between capitalists and the nation (natsiia, nation in the historical sense) is set in the traditional form of a psychological drama. From 1936 to 1937, Grieg put out the literary social journal Veien frem, on the pages of which he came out against fascism and the threat of a new war. In 1937, as a military correspondent, he took part in the National Revolutionary War of the Spanish people, 1936–39; this was reflected in his journalistic collection Spanish Summer (1937; Russian translation. 1938) and in the novel But Young the World Must Be (1938). Grieg’s popular heroic play The Defeat (1937) portrays the events of the Paris Commune of 1871. After Norway’s capture by the Hitlerites (1940), Grieg took part in armed activity against the occupationists. He perished on board a bomber during an air raid over Berlin. His poems were circulated underground in Norway. Later they came out in the collections Freedom (in English translation, War Poems), published in 1945, and Hope, published in 1946.

WORKS

Samlede verker, vols. 1–7. Oslo, 1947.
Samlede verker, 2nd ed.. vols. 1–3. Oslo, 1952.
In Russian translation:
Izbrannoe. Moscow, 1953.
Izbrannoe. Moscow. 1956.
P’esy. Moscow. 1959.
Izbrannaia lirika. Moscow, 1969.

REFERENCES

Krymova, N. I. Nurdal’ Grig. Moscow, 1965.
Neustroev, V. P. “Norvezhskaia literatura.” In Istoriia zarubezhnoi literatury posle Oktiabr’skoi revoliutsii, part 1. [Moscow] 1969.
Nurdal’ Grig: Biobibliograficheskii ukazatel’. Moscow, 1958.
Nag, M. Streiflys: Nordahl Grieg påny: Essays. Oslo, 1967.
References in periodicals archive ?
Es mas, Sigbjorn tiene la sensacion de que el escritor noruego William Erikson, trasunto de Nordahl Grieg, no solo ha escrito su libro, sino que tambien esta escribiendo su vida: "Y no es que le tenga envidia, es solo que tengo la impresion de ser su personaje.
Many here have quoted the Norwegian writer Nordahl Grieg who died when, as a war correspondent, he was on board a British bomber shot down during an air raid over Berlin in 1943.
The poetry of Norwegian Nordahl Grieg will be read at the Bluecoat between November 20 - 22 and the Maritime Museum will be hosting free, family-friendly Viking events on the Saturdays of the festival.
It includes historical figures, like Bukharin, Nordahl Grieg, and Andres Nin; discussions of Picasso's Guernica, the Pergamum altar, and Gericault's Raft of the Medusa; and employs characteristic modernist techniques of montage, the document, the list, and the catalog.
As Bowker brings out better than I have ever seen it, this verging toward paranoia can be connected to his early enthusiasm for such writers as Nordahl Grieg and Conrad Aiken, whose work occupied his mind to such an extent that he worried, rightly, about the originality of his own voice.
He shows how Lowry was continually caught between good and bad influences: the vile, manipulative Conrad Aiken and the angelic Nordahl Grieg, both of whose work he absorbed and plagiarized; the Hell of Mexico and the shack he and Margerie built at Dollarton, near Vancouver which he came to see as a lost Eden when he had left it (hence his attachment to October Ferry); Jan Gabrial who accurately recognized that Lowry's idea of a perfect woman 'was a mother who was a good lay' and who was too independent to be absorbed into Lowry's fiction of himself as an intoxicated genius, and Margerie who was more than happy to play the role and sacrifice herself in the hope of literary glory.