Philip Teir

After Scandi Noir, is the next big thing Scandi Angst? Philip Teir’s first novel, ‘The Winter War’, drew much praise and comparisons to the likes of Jonathan Franzen and Julian Barnes. Now with this, his second novel, Teir continues his exploration of family, relationships and wider society.

Julia and Erik, with their two children in tow, head out of Helsinki for a long summer staying in Julia’s parents’ long-disused summer house. Unbeknownst to his family, Erik has just been made redundant from his job in IT with a large department store, and as the novel develops the summer house and its locations becomes an arena for Teir to explore ‘where we are now’ in a series of events and visits that become almost set-piece explorations of human relationships and wider social concerns. There is Erik’s brother, home from travelling in Vietnam, aimless and going nowhere with his life; there is the mysterious neighbour Kati, recently widowed and dealing with grief; and there is the ‘neo-hippie’ commune next door, where Julia meets her childhood-friend and discovers a family secret relating to her own parents.

Teir is very good at the detail, the minutiae of relationships and family life. Julia’s and Erik’s marriage is creaking, and by the end of the novel we are unsure where they stand. Although we see the events through many different perspectives it is perhaps through the experiences of the two children that we judge the others: Anton, the younger son, who wants to play video games and enjoy the summer but seems forced to face an adult world that confuses and bewilders; and Alice, just turning thirteen and experiencing boys and love for the first time. Ultimately, however, there is no ‘social norm’, each of the various relationships are failing or have failed (there are open relationships, past affairs, summer flings, and, of course, the ‘nuclear family unit’). The unspoken question is clear: how do we live together in a 21st century world as we slide ever closer to environmental, economic and social devastation?

Whilst I did enjoy the book – I firmly believe Teir is an author to watch for the future – some of the symbolism tended on the heavy-handed: as the family leave at the end of the book there is a ‘hint of autumn in the air’; as Julia learns of her mother’s affair and her husband losing his job it is in the middle of a thunderstorm with full-on lightning at appropriate moments; the summer house itself is rotting away with water seeping in through the basement….. It works, yes, but I feel there could be more nuance. However, I’m quibbling, because I did enjoy this book very much. More than his first novel? I’m not sure, but together the two of them announce a bold new voice in international fiction. And as for a Scandi Angst? Well, we’ll see…… (mehr)

C'est avec beaucoup de finesse que Teir nous raconte les petites vachetés et les malentendus qui ponctuent le quotidien d'un couple et l'empoisonnent lentement, soit absorbés soit ignorés jusqu'à ce qu'ils explosent dans une situation venimeuse et inextricable. Tel est le sort de Katriina qui utilise le prétexte de la liaison de Max: elle n'en a que faire mais doit se rallier à un élément cassant alors même que pour Max cette liaison ne signifie rien, qu'une incursion dans une jeunesse qu'il a perdue.
Le destin de leurs filles est également intéressant : Helen qui se perd médiocrement dans son mariage comme son père et Eva qui atterrit dans le sien comme sa mère, une bouée de sauvetage après avoir un peu trop vécu. C'est au lecteur de deviner comme chacun reconstruira sa vie, mais on sent que chacun est campé dans sa trajectoire, bouleversé par les aléas de la vie.
Ce roman est écrit avec minutie: on peut ne pas aimer les personnages, mais ils ne nous laissent pas indifférents. Teir nous livre les petits détails de leur psychologie qui font que l'on se sent proche d'eux, qu'ils sont le miroir de nos propres vies: il nous les livre pour que nous nous en approprions.
Les amateurs de finesse dévoreront ce roman.… (mehr)