As a matter of fact, all this occurred during the eighties, when stern Realism was at its height. She admired the great masters of that time, never thinking that one could use any other style in writing than the one they employed. For her own part, she liked the Romanticists better, but Romanticism was dead, and she was hardly the one to think of reviving its form and expression! Although her brain was filled to overflowing with stories of ghosts and mad love, of wondrously beautiful women and adventure-loving cavaliers, she tried to write about it in calm, realistic prose. She was not very clear-visioned. Another would have seen that the impossible was impossible.
Once she wrote a couple of chapters in another style. One was a scene from Svartsjö churchyard; the other was about the old philosopher, Uncle Eberhard, and his infidel manuscripts. She scribbled them mostly in fun, with many ohs and ahs in the prose, which made it almost rhythmical. She perceived that in this vein she could write. There was inspiration in this—she could feel it. But when the two short chapters were finished, she laid them aside. They were only written in fun. One could not write a whole book in that vein.
But now the story had been waiting long enough. It thought, no doubt, as it did at the time when it sent her out in the world: “Again I must send this blinded person a great longing which will open her eyes.”
The longing came over her in this manner: The homestead where she had grown up was sold. She journeyed to the home of her childhood to see it once again before strangers should occupy it.
The evening before she left there, perhaps nevermore to see the dear old place, she concluded in all meekness and humility to write the book in her own way and according to her own poor abilities. It was not going to be any great masterwork, as she had hoped. It might be a book at which people would laugh, but anyway she would write it—write it for herself, to save for herself what she could still save of the home—the dear old stories, the sweet peace of the carefree days, and the beautiful landscape with the long lakes and the many-hued blue hills.
But for her, who had hoped that she might yet learn to write a book people would care to read, it seemed as though she had relinquished the very thing in life she had been most eager to win. It was the hardest sacrifice she had made thus far.
A few weeks later, she was again at her home in Landskrona, seated at her writing-desk. She began writing—she didn’t know exactly what it was to be—but she was not going to be afraid of the strong words, the exclamations, the interrogations, nor would she be afraid to give herself with all her childishness and all her dreams! After she had come to this decision, the pen began to move almost by itself. This made her quite delirious. She was carried away with enthusiasm. Ah, this was writing! Unfamiliar thoughts and things, or, rather, things she never had surmised were stored away in her brain, crowded down upon the paper. The pages were filled with a haste of which she had never dreamed. What had hitherto required months—no, years—to work out, was now accomplished in a couple of hours. That evening she wrote the story of the young countess’ tramp over the ice on River Löven, and the flood at Ekeby.
The following afternoon she wrote the scene in which the gouty ensign, Rutger von Örneclou, tries to raise himself in bed to dance the Cachuca, and the evening of the next day appeared the story of the old Mamsell who went off to visit the parsimonious Broby clergyman.
Now she knew for certain that in this style she could write the book; but she was just as certain that no one would have the patience to read it through.
However, not many chapters let themselves be written like this—in one breath. Most of them required long and arduous labor, and there were only little snatches of time in the afternoons which she could devote to authorship. When she had been writing about half a year, reckoning from the day when she had gone in for romanticism with a vengeance, about a dozen chapters were written. At this rate the book would be finished in three or four years.
It was in the spring of this year, 1890, that Idun invited prize competitors to send in short novelettes of about one hundred printed pages. This was an outlet for a story that wanted to be told and sent into the world. It must have been the story itself that prompted her sister to suggest to her that she make use of this opportunity. Here, at last, was a way of finding out if her story was so hopelessly bad! If it received the prize, much would be gained; if it didn’t, she simply stood in exactly the same position as
