By Merethe Lindstrom
From the acclaimed Nordic Council Literature Prize winner, a narrative that finds the devastating results of mistaking silence for peace and feeling disgrace for inevitable circumstances.
Eva and Simon have spent such a lot in their grownup lives jointly. he's a doctor and he or she is a instructor, and so they have 3 grown daughters and a snug domestic. but what binds them jointly isn’t merely affection and unity but additionally the painful evidence in their respective histories, which they retain hidden even from their very own childrens. yet after the abrupt dismissal in their housekeeper and Simon’s expanding withdrawal into himself, the prior can now not be repressed.
Lindstrøm has crafted a masterpiece in regards to the grave error we make after we misjudge the legacy of conflict, universal prejudices, and our personal suggestions of survival
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Extra resources for Days in the History of Silence
Technicality A few weeks later, a visit to two museums, first the Crafts Council Gallery and then the Design Museum in London, was to enter two exciting but separate worlds. In the Crafts Council Gallery, most of the exhibits were by women while the bulk of what was on display in the Design Museum were machined objects by men. To put it baldly, it appeared that the term ‘design’ was reserved for objects that men liked creating – largely machined objects – while the term ‘craft’ was bestowed on handcrafted work, much of it as far as the Gallery was concerned textile crafts, an area dominated by women.
Of the 29 people remaining – a massive 73% of those interviewed – all thought that there were differences between the visual creations of men and women. Interestingly, many of the differences discussed echoed differences identified in the studies comparing children’s and young people’s drawings. So common themes related to the male and female use of straight vs. round lines; their relative emphasis on three-dimensionality and functionality and in terms of underpinning themes, the depiction of males vs.
The first, by Kerschensteiner in Germany in 1905, compared boys’ and girls’ drawings and produced the interesting finding that boys’ drawings were more realistic than the girls’. Then, the Japanese study headed by Iijima in 2001 found that the boys were more likely than the girls to draw motifs arranged in piles, three-dimensionally or from a bird’s eye view (more on these studies below). So, while the boys favoured the realistic portrayals of objects, the girls preferred less realism, and favoured organising subjects in rows.