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"While Johansson is as mordant and hypnotic as Nabokov, she opts for restraint over pyrotechnics. (Credit is also due to Kira Josefsson’s deft translation from the Swedish.) This is a novel to savor and argue with . . . I’ve come to think of Antiquity as a Polaroid of the ocean at night, a deep-time abyss, an intimate menace." —Ryan Chapman, The New York Times Book Review
"Highbrow brilliant." —New York Magazine
"Hypnotic." —Keziah Weir, Vanity Fair
"[O]ne exquisitely rendered moment after another . . . Antiquity maps out the crystallizing process of an impression, the places in a temporary affair where the fleshy stuff of love or lust hardens into narrative." —Rosa Boshier González, The Believer
"A delicious slow-burn meditation on desire, envy, language, and memory." —Jasmine Vojdani, Vulture
"Fascinatingly deceptive . . . a beautifully drawn portrait where everything is wrong." —Anna Gaca, Los Angeles Review of Books
"A gorgeously written book about lust, desire, power, and obsession. Johansson, along with Josefsson’s translations, sophisticatedly tells a sultry story about a forbidden relationship that brings a family to the brink." —Debutiful
"Gorgeous, lacerating . . . Johansson’s creation, in Josefsson’s translation, reminds us of our own tendency to narrativize life, to write ourselves out of the intimate joy of immediate experience by stepping back and fiddling with the details, fashioning an ideal self. Antiquity feels destined to be a classic, as multifaceted, revealing, and transformative as works by Dostoyevsky, Mann, and Nabokov. Its power comes from its vulnerable, gorgeous prose, replete with lush images, and also from its structural sophistication—a complete convergence of shape and themes. The textual body of the novel is a monument to the clash between the natural flow of life and its narrativized counterpart, felt through the temporal textures of the story, its narratological conflict." —Sofija Popovska, Asymptote
"Obsessively observant and cuttingly internal." —JR Ramakrishnan, Electric Literature
"A mesmerizing journey into the roots of intimacy, Johansson’s debut novel gives a skillfully crafted, well-defined face to loneliness . . . [A] meditation on how the hunger for human connection consumes boundaries between self and other." —Booklist
"A moody exploration of loneliness and obsession against the backdrop of an arrestingly beautiful Greek island . . . Johansson’s sentences are lovely and her observations are sharp and clear-eyed." —Publishers Weekly
"A fiction debut that explores the intersection of desire and power . . . Johansson uses her chosen setting to good effect. Her characters are surrounded by sumptuous sensory experiences but also isolated, and that isolation enhances the sense of pending disaster that permeates the text . . . [A] writer to watch." —Kirkus Reviews
"A wonderful novel written with the menacing elegance of a cat burglar working in the shadows and at great heights." —Catherine Lacey, author of Biography of X
"Entrancing and calamitous, Antiquity dreams deeply into the shadows of desire and obsession. A precise and mysterious spell of a book." —Rachel Yoder, author of Nightbitch
"In Antiquity, Hanna Johansson probes the most forbidden recesses of desire, aging, and memory in sentences as lucent and incisive as shards of glass. Wily, mesmeric, and utterly disarming, this fabulously translated novel held me captive from the very first page, and its questions and images will linger in my blood for a long time. Rarely have I felt so transported and beguiled by a book, let alone a debut. Don't miss it." —Maggie Millner, author of Couplets: A Love Story
"What Hanna Johansson offers in her electric, unsettling debut refuses all protection and dares the reader to do the same. Kira Josefsson’s translation is its own marvel, the language brimming with just-kept chaos until the keeping’s no longer possible. I won’t forget this book." —Anna Moschovakis, author of Participation
11/20/2023
Johansson debuts with a moody exploration of loneliness and obsession against the backdrop of an arrestingly beautiful Greek island. The unnamed 30-something narrator accepts an invitation from Helena, an artist whom she recently interviewed and has become fixated upon, to visit Helena’s house on Syros. There, the narrator is distraught to learn that Helena’s teenage daughter, Olga, will be joining them, interrupting what she had hoped would be an opportunity to get closer to Helen. Of Olga, the narrator thinks, “I hated the name before I met her; I hated it only when I knew her by name, when all I knew was what Helena had told me about her.” The name itself gives the narrator a “strange and inexplicable sense of being left out.” After Olga arrives on the island and Helena’s interest in the narrator begins to wane, she turns her eye instead to Olga, inserting herself between the mother and daughter and shifting her allegiances as she develops a Lolita-like erotic interest in the girl. While Johansson’s sentences are lovely and her observations are sharp and clear-eyed, the novel’s stakes never rise high enough to capture the reader’s attention. What might have been a visceral narrative of desire and harm remains a quiet meditation. (Feb.)
2023-10-21
A fiction debut that explores the intersection of desire and power.
The story’s unnamed protagonist, a woman who’s a writer, becomes infatuated with an artist called Helena after interviewing the older woman for an article. When Helena offers the narrator an invitation to spend the summer in Greece with her, the protagonist sees this as an opportunity for their relationship to deepen. At first, Helena’s teenage daughter, Olga, is an unwelcome distraction, but, eventually, the protagonist’s attention turns to the girl. First published in 2021, this novel earned lavish critical praise—including literary prizes—in Sweden. Johansson uses her chosen setting to good effect. Her characters are surrounded by sumptuous sensory experiences but also isolated, and that isolation enhances the sense of pending disaster that permeates the text. Whether or not readers appreciate this work, though, will depend largely on their reaction to the first-person narration and the slow pace at which the plot unfolds. The protagonist is an outsider; indeed, she seems to be a mere observer of her own life. At the same time, her desperate loneliness makes her solipsistic. Her obsessions are more about her need for an identity than any particular qualities of the people with whom she becomes obsessed. This trait makes psychological sense, but, as the only character given a point of view, she becomes rather tiresome company, and the pacing only exacerbates the issue. While no one should expect this story to read like a thriller, fiction doesn’t have to feel like a chore to have literary merit. The author does, ultimately, provide us with an intriguing thought experiment: How would we react if the protagonist had been a man?
This may not be an entirely satisfactory first novel, but Johansson has strengths that make her a writer to watch.