"Åsa Linderborg tribute to the portrait of Stig Ahlgren – the genius who changed the page and lost everything."
"When I see Donald Trump I think of the question Stig Ahlgren asked Marianne Höök when she swished into the Weekly Journal after a dröjsamt visits to frissan: ”Say, Marianne, is that a new hairstyle or is it a hårsjukdom?”"
"There is a Stig Ahlgren-quotes for most situations. In the spring of 2018, when dagens nyheter's cultural section area was knytblus-activists, I was tempted to quote Ahlgren about Ivar Harrie: ”He stepped solemnly in line with the frasernas vaktparad he brought it to life and let the march past our mistrustful eyes.”"
"It is not for the stylistically perfected the witty and elakheterna you to read Stig Ahlgren, but because he had a language bar up a dazzling independence, which, unfortunately, often went too far. For each journalist, he is both a calling and a cautionary example. "
"to-day Stig Ahlgren suffocate to death. Or killed himself on Twitter."
"In the summer fell I in Ahlgren's early artikelsamlingar, concerned that never closer to understanding him. Gustav von platen's bundisbiografi gave no deeper guidance. Then I did not know that Ulrika Milles put the final touches to a giant project, Mavericks, if he is Sweden's all time most entertaining and feared literary critic."
"adopted children Stig Ahlgren, born 1910 in Karlskrona, and as a young adult with insight into fabriksportarna in Malmö, broke through in the Work at the same time with arbetarlitteraturen. He was vägröjaren for 40-talsmodernismen, but added never your fingers in between. It cost him dearly when he sawed the last part of Eyvind Johnson's Microbe-trilogy, the main example of beredskapslitteratur. Ahlgren betackade for aktivistprosa without artistic originality, something that Johnson, incidentally, said that Ahlgren forced him to in a Spanienbulletin a few years earlier. "
"Then Ahlgren already made fools of themselves fatal, in a pulpit in Örebro, Folkets hus. The year was 1940, the topic of freedom of the press. From a moment of completely unnecessary klasståndpunkt attacked Ahlgren both Vilhelm Moberg and the Torgny Segerstedt. "
"One of Sweden's most pungent anti-fascists ended up suddenly on the end of censorship site and became, with the Milles words, ”a friseglare note traitors.” Misunderstood, he tried in all the years to explain itself."
"With Stig Ahlgren was born the modern kulturjournalistiken; fast, current, idékritisk. ”Litteraturpolitiska rampage” call Milles his attacks on the dominant, bourgeois litteraturkritiken. "
"He excelled, with a judgement that still stands to this day. He dotted the contemporary giants; the settlements with Fredrik Böök and Kar de Mumma is so good that one can scream of happiness."
"in 1946, he left the press for the bonnier-owned Weekly Journal and lost with this signature on a contract its aura and authority. Transforming the image of the Ahlgren ”from a provocative fräckus, one of Sweden's sharpest marxist literary critic, to a disgusting borgarkåsör”."
"He will, with an explanation that an editor with a budget can understand; Ahlgren and tired of not being able to feed their freelancers that he yearned for. And himself, he was never in the possession of cash, he begged for money even by those he attacked. But an equally big reason to switch side would be that he had for many generation to throw the door shut. He didn't show allegiances to any one; more than against Moa Martinson and Agnes von Krusenstierna."
"Trottoarbytet shocked the world and himself, drew Stig Ahlgren never from this decision, which he had mistaken for a stepping-stone to the DN. Slowly withering him away. Litteratursynen is still kulturradikal, and dedicated to the consistent, usually judicious, but he is completely alien for the 60-talsradikalismen. Socialism on the trumslagarvers, no thanks. Even the most independent need a movement behind the conclusions. Ahlgren go away completely, go out to Ingrid Bergman, and write three idiotic articles in which he accuses the Olof Palme for drug addiction. "
"the Private had Stig Ahlgren a destructive relationship with actress and writer Birgit Tengroth. She is unhappy, cheating, spiteful, ill. He is the sacrificial accommodating. They are becoming increasingly more isolated, socially and professionally. Lone wolves is all about the both of them, but Tengroth is far from as interesting and occupies thankfully a smaller part of the book. Subbed, Manhood, love, literature, is deeply misleading and feels like a classic call. This is a study of the privacy price, about the rise and fall, about a lion who becomes a jackal – it should be clear already from the restful ransoneringsgröna the cover. "
"Ulrika Milles conclusion that Ahlgren became a part of the bourgeois establishment is incomprehensible; probably took his VJ-slot with the bald crown of the head, but lonelier man on mount parnassus is hard to find. ”You don't want to have me. It is clear. But I'm not necessary?” he wondered early: Beskäftigheten should check among the seven deadly sins. He smirklade never together any network."
"Our time Stig Ahlgren is not to be found anywhere. There are lustigkurrar trying, no name, but everything they serve is opportuna plumpheter and self-righteous positionings at the expense of the other. Very few culture writers dare to put some of my own principles on the game, most of the howls with the moral majority. I don't know why, but He wording sounds enough like a vällingklocka in everyone's ears: ”For the free thinker is allowed, in reality, no free market.” It is more true than ever. "
"to-day Stig Ahlgren suffocate to death. Or killed himself on Twitter. "
"Repented of Stig Ahlgren something or he felt the need to be true to himself was more important? The question is not to answer because he has not made some really private notes. Liberating enough is Mavericks renons on känsloinlevelse and psykologiseringar. "
"Without the declarations draws Milles up a sharp limit for the sakprosaförfattarens discretion. She trusts the reader's capacity to think for yourself."
"It makes me so wide-eyed in awe, is that it is just Ulrika Milles who have taken on the task to subscribe to the Stig Ahlgren's portrait. They are each other's opposites: the Milles literary judgment is more than ample, but she has never once made uncomfortable, and her style has been characterised for its kvickheter. Perhaps that is why the result is so fantastic. She competes not with her so she squeezes not kill it. The balance is perfect, on the kongenial 40-talsprosa. "
"It feels like the Mavericks are written directly for me, that warm summer's evening when the flies buzzed around a lästrött head who couldn't stop thinking about the tragic solitären Stig Ahlgren. I'm so glad in this book that I don't really know how I'm going to end other than with a thank you: Thank you Ulrika Milles! "
"the Mavericks – Stig Ahlgren 1900s. Manhood, love, literature"
"Albert Bonniers förlag"