Posts featuring Patricia Highsmith

The Double-Edged Possibility of Hiding in Plain Sight: An Interview with Hanna Johansson

I think this kind of [queer] isolation can be generative for an author—it provides you with this ability to see while not being seen.

In Antiquity, Hanna Johansson unleashes a rapturous, sinuous tale of desire and its reckless vehicle. After falling for an older artist, a misguided journalist follows her and her teenage daughter onto a trip to the Greek islands in an almost-instinctive sense of codependence, and soon the gorgeous shores are turned into a stage of ruins, in which a self-deluding passion lays bear the tensions between the wanting and the wanted. Shifting between the incantatory posturing of someone captivated by the forbidden and the anxious distortions of unreciprocated intimacy, Johansson deftly grows an explosive triangulation in which closeness begets isolation, and isolation begets tragedy. In the following interview, Sofija Popovska speaks to Johansson about Antiquity’s queerness, ancient Greece as a specter, and how the novel considers power.

Sofija Popovska (SP): Firstly, congratulations on your gorgeous debut novel! Before we dive into the text itself, could you tell me a little about how Antiquity came into existence?

Hanna Johansson (HJ): I started writing it seriously in 2018, and I had at that point been trying for a while to write a story about a trio of some sort. I find that kind of social structure to be very interesting and enticing—not the kind of love triangle where two people desire the same person, but a triangle where two people might belong to each other in this obvious, indisputable way, like a couple, or, as in Antiquity, a mother and her daughter, with a third person sort of looking in, desiring their bond more than anything else. I had also had a little bit of a personal crisis in 2016 and went to Ermoupoli for three months and realized pretty quickly that I would like to write something set in that city. It’s so beautiful and glamorous and strange at the same time. So, all of that had been brewing for a couple of years, and then, in the fall of 2018, I moved from Stockholm to a smaller city with my partner, who’s also a writer, while she was getting her MFA. I’m not sure I could have written it without those circumstances—the fact that she was incredibly supportive, and that we were living in a way that left me plenty of time to write. 

SP: Described in its promotional materials as a “queer Lolita story” and as reminiscent of Death in Venice, Call Me by Your Name, and The Lover, Antiquity is, from the outset, embedded in a specific literary tradition. Was this cultural situatedness a planned feature? Were you ‘in conversation’ with any of these works—or other texts—during the writing process, and, if so, what effect did you hope to achieve by recasting (and subverting?) their themes and elements in Antiquity?

HJ: Yes, the cultural situatedness was a planned feature, I would say. I was very preoccupied, while I was writing Antiquity, with these sorts of queer or gay tropes—the age gap love story, for instance, which is one, although maybe not very nuanced, way of describing the novels mentioned—but probably even more the story of the guest who overstays their welcome, like Patricia Highsmith’s The Talented Mr. Ripley and Alan Hollinghurst’s The Line of Beauty. I read The Line of Beauty in my late teens and it made a huge impression on me. Saltburn is another example of that trope, to mention something even more current. These are all stories of people who are obsessed with beauty, and who have a desire for luxury, but they also have this seemingly unquenchable thirst for belonging—and an equally intense conviction that they can’t belong anywhere unless they are deceptive and not themselves—and this very much informs the narrator of Antiquity.

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Weekly Dispatches from the Frontlines of World Literature

The most important literary news from the US, Australia, and the Czech Republic.

In addition to our usual roundup this week of the latest and most exciting prizes and competitions, our Editor-at-Large in the USA, Madeline Jones, shares some important news about sexual harassment in the nation’s media and publishing industry; Editor-at-Large Tiffany Tsao draws our attention to the online harassment of an Indigenous poet, just over a week before the start of Australia’s first Indigenous literature festival; Editor-at-Large Julia Sherwood fills us in on the most exciting new works being released in Czech Republic, and pens a short obituary for a legendary and fearless translator who rubbed shoulders with some of the mid-century’s greatest authors and defied the Czech Soviet authorities. We hope you find this week’s news informative, and we express our solidarity with all women around the world who are standing up to abuse.

Madeline Jones, Editor-at-Large, reporting from the USA: 

The American publishing and media industries have been rocked by an outpouring of sexual harassment and assault accusations against powerful men who have used their standing and infl-uence—and in some cases millions of dollars—to silence women’s complaints. The New York Times and The New Yorker reported the first stories implicating Hollywood producer Harvey Weinstein in a number of harassment and assault charges on October 5th, which sparked a revolution. Over fifty women have since come forward with complaints about Weinstein’s behavior, he has been fired from his own company, and Hachette Book Group promptly shut down Weinstein Books. The hashtag #metoo sprung up in the wake of these first accusations, demonstrating the sweeping extent of harassment across all areas of work and life, and a list started circulating among women in journalism and media called “Shitty Media Men” where women shared specific names of male perpetrators who had made unwanted advances or offered quid pro quos and who are still employed at prominent magazines and newspapers.

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