Program tags Archives: Karin Tidbeck

Karin Tidbeck (b. 1977) is a Swedish writer. Her first published short story was “Vem är Arvid Pekon?” (“Who is Arvid Pekon?”) in a 2002 issue the Swedish science fiction magazine Jules Verne-Magasinet. She published just a couple of stories in the following years, spread out in different Swedish magazines, until her short story collection Vem är Arvid Pekon? was published by a small press, Man av skugga förlag, in 2010.

Her international breakthrough came with her English short story collection, Jagannath, published by Cheeky Frawg in 2012. Lauded by writers such as China Miéville and Ursula Le Guin, it was awarded the Crawford Award, shortlisted for the World Fantasy Award and gave Tidbeck a name as one of the best and most interesting new voices within the field of speculative fiction. Her first novel, Amatka, was published in Swedish in 2012, a dystopian story about a world where language has power to change reality itself and where the constant naming of things is the only thing that keeps civilization together. The novel started out as dream entires and went by way of poetry collection and short prose pieces before it ended up in the form it was published. Her fiction is weird, sometimes absurd, sometimes uncomfortable, always worth reading.

Tidbeck writes fiction both in English and her native Swedish, and translate the stories both ways. She lives in Malmö, in the southernmost part of Sweden. She used to work at Science fiction-bokhandeln (“the science fiction bookstore”) in Stockholm and has a background in the Swedish LARP movement. She also works a creative writing teacher and writing coach.

Storytelling — The Different Ways We Tell and Take Part in Stories.

Good storytelling is immersive for the audience, but in different ways depending on how the story is told. Reading is passive and solitary; in contrast LARP is highly interactive and can be physically and emotionally involving. Books, cinema, theatre, games and role-play are only some of the ways we create, tell, and participate in stories. What are best aspects of storytelling by each method? What can we learn about ourselves, story, and life?  Is anything fundamentally changing in our love of story?

David Gullen, Karin Tidbeck, Mika Loponen, Sari Polvinen