Halldor Laxness; translated by Philip Roughton
Salka Valka is epic in scope. Written by the 1955 Nobel Prize winner for Literature Halldor Laxness, and translated from the Icelandic by Philip Roughton, it tells of the struggles of a small fishing village in Iceland. The central character is Salka Valka, the young, illegitimate daughter of a destitute mother.
Salka is eleven years old when we first meet her. Having run out of funds to get to Reykjavik, she and her mother arrive at the village of Óseyri in Axlarfjörður. The two seek shelter and end up at the Salvation Army building. Even at this young age, Salka is outspoken, headstrong, and independent. The two eventually find permanent lodging and young Salka begins working in the fishing industry to earn an income.
We follow the trials of these two individuals, their interaction with the villagers, her mother’s involvement with the Salvation Army, and their gradual estrangement from each other. Salka becomes increasingly independent and self-reliant. Deemed an anomaly among the village women, she is outspoken, strong, hard-working, and has the audacity to wear men’s trousers. Her hard work pays off, enabling her to own a share of a fishing boat. She becomes a union organizer for the fishermen and advocates for their rights. All the while she contends with sexual abuse and harassment. And on more than one occasion, she acknowledges her lack of femininity, perceiving herself as a boy.
Salka is courted by two men. She falls in love with her childhood sweetheart who exploits her love for him; she is simultaneously attracted and repelled by her mother’s former fiancé, a drunken, bedraggled boor who transforms himself into a successful, sober tycoon and claims her as his muse.
The second half of the novel is embroiled in politics as the villagers are courted by the “Bolshies” on one side and the “Independents” on the other. Laxness presents both sides of the debate at length. The villagers fluctuate from one side to the other at the slightest whim and without fully comprehending the ramifications of their choice. This section gets too bogged down in the pros and cons of political discourse, slowing the narrative down unnecessarily. Salka Valka gets tossed around in the political turmoil. She tries to maintain independence, focusing on the path she thinks will best help the fishing industry, but she eventually sides with her lover, a spokesperson for the Bolshie cause.
Laxness’ diction is sparse and realistic. Against the backdrop of a bleak landscape are the villagers struggles with Iceland’s weather, isolation, poverty, and meagre existence. The novel can be unwieldy at times, especially during the drawn-out political fracas. However, Laxness sustains reader interest through his keen eye for detailing the topography, the harshness of village life, the scruffy children, and the chorus-like villagers. They are a bedraggled, lice-ridden, smelly, rough, impoverished, and gossipy lot. They are also undeniably real and depicted with sensitivity and compassion. His greatest success lies in his depiction of Salka Valka. He captures the tortured spirit and complexity of this extraordinary young girl with tenderness and honesty—a remarkable achievement since he was only in his late twenties when he composed the novel.
An epic novel, wide in scope, and immersive in detail. Highly recommended.