Jan Fridegård

(redirected from Jan Fridegard)
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Fridegård, Jan


Born June 14, 1897, in Uppsala; died there Sept. 10, 1968. Swedish writer.

Fridegård wrote carefully plotted realistic works dealing with the life of the working people, especially the life of statare, or landless tenant farmers. His most important work is a trilogy about the life of the Swedish working people during the 1920’s and 1930’s; the volumes are entitled I, Lars Hård (1935), Thanks for the Heavenly Ladders (1936), and Charity (1936). Also noteworthy are his collection of short stories From and Hård (1956; Russian translation, 1958) and his autobiographical trilogy consisting of Wandering Lights (1955), Migratory Birds (1956), and The Inheritors (1957). Antimilitarism characterizes the cycle of novels that includes Swedish Soldier (1959), Eastward, Soldier! (1961), and The Return (1963). Fridegård published two books of memoirs: On the Horns of the Bull (1964) and Lazybones (1965).


In Russian translation:
“Stogsolomy.” Zvezda, 1959, no. 8.
“Tsena poezii: Nezvanyi gost’.” In the collection Shvedskaia novella XlX-XX vv. Moscow, 1964.


Iur’eva, L. (L. Braude). “Rasskazy lana Fridegorda.” Zvezda, 1959, no. 6.
Gamby, E. Jan Fridegård. Stockholm, 1956.
En bok omJan Fridegård. Uppsala, 1957.
Schön, Ebbe. Jan Fridegård ochforntiden. Uppsala, 1973.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
'Not enough space' is a likely answer; a similar answer is probably relevant to the way in which Moa Martinson was given a mere eleven lines in Ingemar Algulin's A History of Swedish Literature (Stockholm: Swedish Institute, 1989), roughly the same as the contemporary male writer Jan Fridegard. It is hardly justified to claim that 'the seven-volume history of Swedish literature, edited by leading male academics, that was published between 1987 and 1990, still marginalises women writers and their work'; even if the editors happened to be men, there were in fact a number of women contributors, and women writers seem to have been dealt with fairly.