NOTES

1. Ryalls and Mazzarella, “Famous, Beloved,” 444.

2. Nikolajeva, “Misunderstood Tragedy.”

3. Bernstein, “Childhood as Performance.”

4. Bernstein, “Childhood as Performance,” 203. Examples of this tension include criticism of Philippe Ariés’s argument “that there was no childhood in the medieval world,” where scholars bring out that medieval children did exist, but do not take into account that Ariés is really talking about the idea of childhood (Honeyman, Elusive Childhood). Similarly, criticism and debates around Lee Edelman’s No Future where people are (rightly) arguing that Edelman’s Child is a very specific idea of childhood and the rhetoric around it does not apply to all children.

5. Bernstein, “Childhood as Performance,” 204.

6. Bernstein, “Childhood as Performance,” 205.

7. Hatch, Shirley Temple, 12.

8. Socialdemokraterna, “Vår historia.”

9. Berggren and Trägårdh, Swedish Theory of Love, 166.

10. Berggren and Trägårdh, Swedish Theory of Love, 166.

11. Sandin, “Children and the Swedish Welfare State,” 125.

12. Key, Century of the Child (Barnets århundrade).

13. See more in Karin Nykvist, “Dreaming Childhood” (unpublished chapter, March 2018).

14. Brembeck, Johansson, and Kampmann, “Introduction,” 15.

15. There are, of course, examples that study Indigenous Sámi childhoods specifically, such as Rauna Kuokkanen’s “‘Survivance’ in Sámi and First Nations Boarding School Narratives” (2003), which discusses and compares novels about Indigenous children in the colonial school systems in Canada and Finland.

16. Sandin, “Children and the Swedish Welfare State,” 128.

17. Sandin, “Children and the Swedish Welfare State,” 115, 129.

18. Mier-Cruz, “Swedish Racial Innocence,” 12.

19. Berggren and Trägårdh, Swedish Theory of Love, 167.

20. Kjellman, “How to Picture Race?” 580.

21. Kjellman, “How to Picture Race?” 603.

22. Kjellman, “Whiter Shade of Pale,” 190.

23. Edelman, No Future.

24. See, for example, Smith, “Queer Theory and Native Studies”; or Parvulescu, “Reproduction and Queer Theory.”

25. Zaborskis, “Sexual Orphanings,” 606.

26. See also Andrea Smith, who argues that an Indigenous critique “must question the value of ‘no future’ in the context of genocide, where Native peoples have already been determined by settler colonialism to have no future.” Smith, “Queer Theory,” 47.

27. See also Michelle M. Wright, “Queer Temporalities.”

28. Smith, “Queer Theory.”

29. Ahmed, Queer Phenomenology, 125.

30. Ahmed, Queer Phenomenology, 126.

31. Stockton writes that “innocent” children are strange because while seen as normative, they are at the same time not like us. In fact, “those who fetishize ‘delay’ for the child must believe in sideways growth.” Stockton, Queer Child, 37.

32. Sandin, “Children and the Swedish Welfare State,” 128.

33. Ommundsen, “Competent Children.” See also Birgitte Furberg Moe’s comparison of the different translations of what is considered the first original Norwegian children’s book, by Jørgen Moe, I Brønden og i Tjærnet. Smaahistorier for Børn (In the Well and in the Mere, Small Stories for Children, translated title by Ommundsen). In both the English and American versions, the child protagonist is no longer depicted as a competent Norwegian child, in contrast to the original. B. Moe, “Barndomshistorier.”

34. Lindgren, Pippi Långstrump. Pippi Longstocking was of course not received without criticisms. The Bonniers publishing house did not accept Lindgren’s manuscript for publication in 1944, and once it had been published by Rabén and Sjögren in 1945, several critics wrote that the book, with its anti-authoritarian ideas, would have a negative influence on children.

35. Söderberg, “Pippi-Attitude.”

36. Söderberg, “Pippi-Attitude”; Rudd, “Animal Figure.”

37. Lindgren, Pippi Långstrump i Söderhavet.

38. Berggren and Trädgårdh, “Pippi Longstocking.”

39. Berggren and Trädgårdh, “Pippi Longstocking,” 51.

40. Witoszek and Mueller, “Ecological Ethics,” 65.

41. Similarly to the universal environment around Pippi (such as a little town in Sweden or an exotic island in the Pacific Ocean), Lundqvist argues, people in the book are more concepts than individuals. Lundqvist, Århundradets barn.

42. Söderberg, “‘Lillasyster ser dig!’” 63.

43. Another example of Pippi as an emblem of Swedish exceptionalism in the world is from the exhibit at Astrid Lindgren’s childhood home, Vimmerby, where a doll that represents an African girl has a little Astrid Lindgren sitting on her knee. Söderberg, “‘Lillasyster ser dig!’” 63.

44. While Pippi Longstocking is the most widely known character beyond Sweden, the other film characters include Karlsson (from Lindgren’s Karlsson on the Roof), who has received a flight ban as a grown-up and had to give away his propeller because he was considered to be a heavy drone; and Alfons Åberg (from Gunilla Bergström’s book series of this character, published 1972–2012), who has moved up in social class and lost part of his identity.

45. Sandin, “Children and the Swedish Welfare State,” 129.

46. Sandin, “Children and the Swedish Welfare State,” 131.

47. As Brembeck, Johansson, and Kampmann bring out, speaking of real children, the expectation of competence leaves out children who for various reasons are not as competent (“Introduction”).

48. Brembeck, Johansson and Kampmann, “Introduction,” 11.

49. Söderberg, “Pippi-Attitude,” 63. On the political changes within the Swedish welfare state during 1980s–1990s, see, for example, Fredrik Sunnemark, “Who Are We Now?”

50. Hübinette and Lundström, “Three Phases.”

51. Hübinette and Lundström, “Three Phases,” 430.

52. Hübinette and Lundström, “Three Phases,” 429.

53. See more in Hübinette, Adopterad; and Törngren, Malm, and Hübinette, “Transracial Families.”

54. Widhe, “Politics of Autobiography.”

55. Stockton, Queer Child, 514.

56. See also, for example, Karin Nykvist, “Dreaming Childhood”; and Malena Janson, Bio för barnets bästa.

57. Doxtater, “From Diversity to Precarity.” Examples of films that do so include Zozo (Josef Fares); Ett öga rött (Daniel Wallentin); Förortsungar (Ylva Gustavsson and Catti Edfeldt).

58. Åberg, “Conceptions,” 105.

59. Åberg, “Conceptions,” 104.

60. Doxtater, “From Diversity to Precarity,” 203.

61. Nestingen, Crime and Fantasy.

62. Larsson, “Representing Sexual Transactions.”

63. Larsson, “Representing Sexual Transactions”; Kulick, “Four Hundred Thousand.”

64. I am thankful to Svea Larsson, who made this point in our discussion of this film and elaborated on it in her final seminar paper in my class on migration and media in Europe (2021).

65. Larsson, “Representing Sexual Transactions,” 37.

66. Kukku Melkas, for example, has concluded her discussion of novels including Alakoski’s Svinalängorna and Hetekivi Olsson’s Ingenbarnsland, analyzed in chapter 3 of this book, saying they ultimately portray a child who finds a happy ending. Melkas, “Literature and Children.”

67. Keskinen, “Intra-Nordic Differences.”

68. Össbo, “Hydropower Company Sites,” 126.

69. Braidotti, “On Becoming Europeans.”

70. Lopez, “Introduction,” 18.

71. See, for example, McClintock, Imperial Leather; and Storfjell, “Mapping the Space.”

72. Ahmed, “Passing through Hybridity,” 93.

73. Kuokkanen, “‘Survivance.’”

74. Andersson, “En sanningskommission,” https://www.samer.se/2629, accessed January 11, 2024.

75. Andersson, “En sanningskommission.”

76. Fura, Foreword, 28.

77. See, for example, Gaski, “Indigenism and Cosmopolitanism.”

78. Keskinen, “Intra-Nordic Differences” and “Re-Constructing the Peaceful Nation”; Lundström and Teitelbaum, “Nordic Whiteness: An Introduction”; Hübinette and Lundström, “Swedish Whiteness and White Melancholia”; Roos, “Approaching Text.”

79. The child is often read as a device in films and literature to depict multicultural societies and hybrid identities. Eila Rantonen, for example, writes that Swedish author Jonas Hassen Khemiri “seems to employ the child protagonist to introduce and negotiate the tensions arising between the host and original cultures, which often culminates as generational conflict.” Rantonen, “Writing Biography,” 205.

80. Hübinette, Adopterad.

81. Wyver, “Too Brown to Be Swedish,” 401.

82. See, for example, Rebecca Knight, “Representations.” Susan Honeyman writes that she sees the value in investigating the attempts to represent the position of childhood in literature “despite (and in light of) this fact.” Honeyman, Elusive Childhood, 5. Karen Lury, analyzing figurations of children in several influential films of the twentieth century, decides to use as her starting point the theoretical position that children are different and other to the adults thus providing new and productive perspectives on the adult world. Lury, Child in Film.

83. Castañeda, Figurations, 1.

84. Castañeda, Figurations, 13.

85. Castañeda, Figurations, 14.

86. Duane, “Introduction,” 1.

87. Ahmed, Cultural Politics of Emotions.

88. Lanas and Huuki, “Thinking Beyond.”

89. Halberstam, Queer Art of Failure, 15.

90. Fasselt, “(Post)Colonial We-Narratives.”

1. Kuokkanen, “Deatnu Agreement”; Össbo, “Hydropower Company Sites.”

2. Veracini, Settler Colonialism, 16–17

3. Össbo, “Hydropower Company Sites,” 126.

4. Kuokkanen, “‘Survivance,’” 708.

5. Dankertsen, “I Felt So White,” 115. See also Gaski, “Voice in the Margin.”

6. Pohjanen and Johansson, Den tornedalsfinska litteraturen. See more in the introduction to this book.

7. These terms are featured in Pohjanen’s poem “Ragheads” (“Rättipäät,” 1987). He also makes a problematic neologism, “l’ugritude,” which combines “Negritude” and “Ugric,” in an attempt to show that the Finno-Ugric identity has been marginalized and to bring out categories that, as Anne Heith argues, “represented as different and similar at the same time.” Heith, “Ethnicity, Cultural Identity, and Bordering,” 96.

8. See more in Leena Huss and Erling Wande, “Emancipation i vardande?”

9. See, for example, Roos, “War Memory, Compassion.”

10. Kokkola, Palo, and Manderstedt, “Protest and Apology.” Because of this, I will refer to the language that Elina and the other schoolchildren speak often as Finnish.

11. Goldberg, Melodrama, 35.

12. Goldberg, Melodrama, 38.

13. See also Elsaesser, “Tales of Sound and Fury.”

14. Passoja, “Klaus Härö.”

15. Decker, “‘Unusually Compassionate,’” 311.

16. Decker, “‘Unusually Compassionate,’” 324.

17. Hunt, “Children’s Literature.” Scholarship that focuses on children’s literature specifically (but often films are included) has repeatedly argued that children’s literature is always about power in the relationship between the child and the adult.

18. Bacon, “Nordic Practices.”

19. Bacon, “Nordic Practices.”

20. Dyer, White, 118.

21. Lunde, Nordic Exposures, 14

22. Gladwin, Contentious Terrains.

23. Sanders, Bodies in the Bog, 7.

24. Sanders, Bodies in the Bog, 12.

25. Lury, Child in Film.

26. Kääpä, Ecology and Contemporary Nordic Cinemas, 150.

27. Hughey, White Savior Film.

28. Williams, “Melodrama Revised,” 73.

29. Williams, “Melodrama Revised,” 74.

30. Kokkola, Palo, and Manderstedt, “Protest and Apology,” 5.

31. Goldberg, Melodrama, 41.

32. See more in Nestingen, Crime and Fantasy; Dancus, “Ghosts Haunting”; and DuBois, “Folklore, Boundaries.”

33. On Wajstedt and Tailfeathers, see MacKenzie and Stenport, “Feminist Sámi Documentary.”

34. Kernell in Swinson, “Nothing Fake.”

35. Siebert, “Pocahontas Looks Back,” 223. Paula Amad writes about how the return-of-the-gaze interpretive move in film studies regarding early films “is aimed at recovering resistance or at least a trace of agency for the nameless masses trapped like insects within modernity’s visual archive. Read less sympathetically, … it might be argued that analyses dependent on the return of the gaze use it as leverage with which to historically unburden the medium of film of its entomologizing and zoologizing legacy regarding the visual representation of racial and colonial others.” Amad, “Visual Riposte,” 53.

36. Storfjell, “Elsewheres of Healing,” 285.

37. Gaski, “Voice in the Margin,” 211.

38. Koskinen, Ingmar Bergman’s The Silence.

39. Kyrölä and Huuki describe gákti like this: “a long-sleeved, loose tunic, usually made of wool, cotton, felt, or silk; women’s versions are a bit longer at the hem than men’s. The gákti can be worn with a belt, leggings, traditional reindeer leather shoes, and a silk shawl, and it is adorned with contrast-colored bands, embroidery, plaits, and Silver or tin ornaate brooches.” Kyrölä and Huuki, “Re-imagining,” 85.

40. Kyrölä and Huuki, “Re-imagining,” 86.

41. Kyrölä and Huuki, “Re-imagining,” 87.

42. Walkerdine, “Communal Blessings,” 99–116.

43. Marks, Skin of the Film, 151.

44. Barker, Tactile Eye, 28.

45. Merleau-Ponty, Visible and the Invisible.

46. See, for example, Stacy Alaimo, Bodily Natures.

47. Ahmed, “Phenomenology of Whiteness,” 159.

48. Ahmed, “Phenomenology of Whiteness,” 160.

49. Zaborskis, “Sexual Orphanings,” 606.

1. The translations of the titles and quotes from these novels are my own.

2. Keskinen, “Intra-Nordic Differences”; Laskar, “Den finska rasen.”

3. Halberstam, Queer Art of Failure, 15.

4. This theme of invisibility of migrants who are white and proximate features in some of Alakoski’s nonfictional writing often functions as a way to claim more visibility while not fully acknowledging the privilege in these claims. See also Tuire Liimatainen, “From In-Betweenness to Invisibility”; and Weckström, Representations of Finnishness in Sweden.

5. Alakoski, Svinalängorna, 229; my translation. All the translations in this chapter are my own unless noted otherwise.

6. On Swedish exceptionalism and racial innocence, see Mier-Cruz, “Swedish Racial Innocence”; Hübinette, “Good Sweden”; Hübinette and Lundström, “Three Phases.”

7. Olsson, Ingenbarnsland, 7.

8. Olsson, Ingenbarnsland, 7.

9. Halberstam, Queer Art of Failure, 80.

10. Halberstam, Queer Art of Failure, 4.

11. Halberstam, Queer Art of Failure, 3.

12. Hennefeld and Sammond, Abjection Incorporated.

13. Kristeva, Powers of Horror, 1.

14. Kristeva, Powers of Horror, 4.

15. Kristeva, Powers of Horror, 53.

16. Hennefeld and Sammond, Abjection Incorporated, 18.

17. Hennefeld, “Abject Feminism,” 111.

18. Halberstam, Queer Art of Failure, 3.

19. Berggren and Trägårdh, Swedish Theory of Love.

20. Söderberg, “Pippi-Attitude.”

21. See, for example, Nilsson, Den föreställda mångkulturen; Arping, “Att göra skillnad.”

22. Gröndahl, “Sweden-Finnish Literature,” 52.

23. Koivunen, “Economies of Pride and Shame.” Koivunen writes further that between “1945 and 1994, 700,000–800,000 Finns moved to Sweden for shorter or longer periods, with some moving back and forth several times and many returning to Finland” (51).

24. Ågren, Är du finsk, eller?

25. Wright, Visible Wall.

26. Ågren, “‘Är du finsk, eller …?’”

27. Koivunen, “Economies of Pride and Shame.”

28. Pynnönen, Siirtolaisuuden vanavedessä, 202.

29. Rothberg, Multidirectional Memory.

30. Baackmann, Writing the Child.

31. Hirsch, Generation of Postmemory.

32. Alakoski, Svinalängorna, 31.

33. Alakoski, Svinalängorna, 31.

34. I use the word “affect” to refer to both collective emotions and things felt that are not even always articulated as specific emotions.

35. Conny Mithander argues that “Sweden officially exaggerated the Swedish guilt after the fall of the Berlin Wall due to a strong wish to adapt to that culture of guilt and repentance that permeates the European integration” Mithander, “Holocaust to the Gulag,” 182.

36. Kavén, “Humanitaarisuuden varjossa”; Anna-Kaisa Kuusisto-Arponen, “Transnational Sense of Place.”

37. Huyssen, “Diaspora and Nation,” 154.

38. Rothberg, Multidirectional Memory, 3, 272; my emphasis.

39. Kuusisto-Arponen, “Mobilities of Forced Displacement.”

40. Kuusisto-Arponen, “Mobilities of Forced Displacement,” 552.

41. Hirsch, Generation of Postmemory, 5.

42. Hirsch, Generation of Postmemory, 5.

43. See, for example, Tervo, “Nationalism, Sports and Gender.”

44. Valenius, “Undressing the Maid.”

45. Olsson, Ingenbarnsland, 147.

46. Olsson, Ingenbarnsland, 103.

47. Molina, “Planning for Patriarchy.”

48. Alakoski, Svinalängorna, 14.

49. Hall and Vidén, “Million Homes Programme,” 301.

50. Alakoski, Svinalängorna, 13.

51. Alakoski, Svinalängorna, 15.

52. Molina, “Planning for Patriarchy,” 47.

53. Kivimäki and Rantonen, “Koti ja yhteisöt,” 154.

54. Alakoski, Svinalängorna, 91.

55. Alakoski, Svinalängorna, 56.

56. Alakoski, Svinalängorna, 114.

57. Alakoski, Svinalängorna, 186.

58. Alakoski, Svinalängorna, 225.

59. Alakoski, Svinalängorna, 223.

60. Janson, Bio för barnens bästa? 162. Lindgren’s Alla vi barn i Bullerbyn has inspired Berthold Franke (director of Goethe-Institute Sweden) to coin the term “Bullerby syndrome,” particularly among people in Germany who are deeply attached to Sweden because of the idealized image of the Swedish countryside and domestic spaces as they are described in the Bullerby books. However, according to Franke, this is not only a love for Swedish culture but also a nostalgic and utopian look toward German history as a common narrative among the people with the “Bullerby syndrome” who believe that if only World War II had not happened, Germany would have had their own Bullerby. “ Die Unschuld Schwedens: Das Bullerbü-Syndrom,” http://www.norrmagazin.de/kultur-lebensstil/unschuld-schwedens/.

61. Alakoski, Svinalängorna, 244.

62. Alakoski, Svinalängorna, 15.

63. Feuerstein and Nolte-Odhiamo, “Introduction.”

64. Feuerstein and Nolte-Odhiamo, “Introduction,” 2.

65. Stockton, Queer Child, 91.

66. Kete, Beast in the Boudoir, 82. (Kete quotes from one of the nineteenth-century authors.)

67. Alakoski, Svinalängorna, 219.

68. Lesuma, “Domesticating Dorothy.”

69. Lesuma, “Domesticating Dorothy,” 135.

70. Pallas, Vithet i svensk spelfilm.

71. Hughey, White Savior Film.

72. Karin Grundström and Irene Molina write, “The year 1974 can be considered the beginning of a process of neo-liberalisation of Swedish housing policy. It marks not only the end of massive housing production with the termination of the Million Programme, but also the elimination of existing legislation regulating tenant rent levels.” Grundström and Irene Molina, “From Folkhem,” 324.

73. While several stories of Pippi also feature a variety of grotesque images, they are not usually included in the promotion of the welfare state and the can-do attitudes that Pippi represents.

74. Olsson, Ingenbarnsland, 287.

75. Olsson, Ingenbarnsland, 8.

76. Olsson, Ingenbarnsland, 11.

77. Olsson, Ingenbarnsland, 11.

78. Olsson, Ingenbarnsland, 12.

79. Olsson, Ingenbarnsland, 255.

80. Olsson, Ingenbarnsland, 125.

81. See, for example, Ahmed, “Phenomenology of Whiteness”; Ahmed, “Passing Through Hybridity”; Lönn, Bruten vithet; Mullen, “Optic White.”

82. The word “zigenare” used in Swedish carries a similarly derogative meaning.

83. Olsson, Ingenbarnsland, 185.

84. Olsson, Ingenbarnsland, 47.

85. Ahmed, Queer Phenomenology, 141.

86. On the history and contemporary discrimination of Roma and “antiziganism” in Sweden, see, for example, Kott, “It Is in Their DNA”; and Kotljarchuk, “State, Experts, and Roma.” Kristian Borg writes in his essay “Den finska erfarenheten” on the challenges of Finnish-speakers in Sweden about the frustration among the Sweden Finnish community when Kjell Sundvall’s film Järgarna 2 featured its violent villain Jari Lipponen with a Finnish accent and long, greasy hair. Sundvall’s problematic comment (which included a derogatory term for the Roma people) was that he had actually meant to have a Roma person be the villain but that doing so would have been racist.

87. Olsson, Ingenbarnsland, 58.

88. Olsson, Ingenbarnsland, 59.

89. Olsson, Ingenbarnsland, 60.

90. Olsson, Ingenbarnsland, 63.

91. Olsson, Ingenbarnsland, 66.

92. For example, in a chapter where Pippi has saved two children from a burning house, she is dancing wildly in the light of the flames on a board above the street, or when Pippi gives Tommy and Annika pills that would make them not grow up.

93. Olsson, Ingenbarnsland, 186.

94. Olsson, Ingenbarnsland, 73.

95. Ahmed, Cultural Politics of Emotions, 202.

96. Olsson, Ingenbarnsland, 237.

97. Olsson, Ingenbarnsland, 239.

98. Lindqvist, “Cultural Archive.”

99. Lindqvist, “Cultural Archive,” 59.

100. Finnjävel is a common derogatory term used for Finnish-speakers in the twentieth century.

101. Olsson, Ingenbarnsland, 303.

102. Olsson, Ingenbarnsland, 304.

103. Furthermore, as Sabrina Strings brings out in Fearing the Black Body, in the United States the Nordic race/northern European whiteness was seen as an ideal and was associated with tall, slim bodies. See also Eve-Riina Hyrkäs and Mikko Myllykangas, “War on Fat in Postwar Finland.”

1. Ridanpää, “Pajala as a Literary Place.”

2. Mohnike, “Joy of Narration,” 172.

3. Ridanpää, “Politics of Literary Humour”; Heith, “Minorities and Migrants.”

4. As mentioned elsewhere in this book, Meänkieli is the official name of the language spoken by Tornedalians; in the twentieth century it was often referred to as Tornedalian Finnish. I will refer to it as Meänkieli when appropriate, but the cultural texts taking place in the twentieth century often refer to it as Finnish.

5. Peiker, “Entangled Discourses,” 394. See also Wangari wa Nyatetũ-Waigwa, Liminal Novel.

6. Heith, Experienced Geographies.

7. Heith, Experienced Geographies.

8. Heith, Experienced Geographies, 97.

9. Heith, Experienced Geographies, 97.

10. Niemi, Populärmusik, 9; Niemi, Popular Music, 10.

11. Gröndahl, “Att bryta på svenska.”

12. Östling, “Äta djävlar, föda ord.”

13. Mohnike, “Joy of Narration,” 174.

14. Ridanpää, “Politics of Literary Humour.”

15. Hutcheon, Irony’s Edge.

16. Hutcheon, Irony’s Edge, 12, emphasis in the original.

17. Hutcheon, Irony’s Edge, 14.

18. Hutcheon, Theory of Parody.

19. The most famous early example of this is Proust’s “involuntary memories” in Remembrance of Things Past.

20. See more on the realities of tourism in the Himalayans in Yang Mu, Sanjay K. Nepal, and Po-Hsin Lai, “Tourism and Sacred Landscape.”

21. Esty, Unseasonable Youth.

22. Niemi, Populärmusik, 12; Niemi, Popular Music, 12 (all translations of quotes from this novel are from Laurie Thompson’s translation).

23. Niemi, Populärmusik, 12, Niemi, Popular Music, 12.

24. Esty, Unseasonable Youth, 7.

25. Takolander, “Theorizing Irony and Trauma,” 112. Recent scholarship on the magical realist mode has shown that magical realist texts do not authenticate fantasy as evidence of pathology or cultural difference.

26. Niemi, Populärmusik, 51; Niemi, Popular Music, 51.

27. As Lena Keil (“Li och Lo och läroplanerna,” 2008) has brought out in her comparative analysis of both the original version (1958) and the revised one (1968), the reader featured two families and promoted traditional gender roles as well as (particularly in the first edition) included racist stereotypes.

28. Niemi, Populärmusik, 52; Niemi, Popular Music, 51.

29. Niemi, Populärmusik, 49–50, Niemi, Popular Music, 48–49.

30. Esty, Unseasonable Youth; Mignolo, Darker Side.

31. Niemi, Populärmusik, 50, Niemi, Popular Music, 49.

32. Bhabha, Location of Culture.

33. Dancus, “Sámi Identity across Generations”; Mecsei, “Hybrid First-Person Sámi Documentaries.”

34. Niemi, Populärmusik, 52, Niemi, Popular Music, 52.

35. Niemi, Populärmusik, 41, Niemi, Popular Music, 41.

36. Leunissen, “Diamonds and Rust.”

37. Niemi, Populärmusik, 238, 237.

38. Faris, Ordinary Enchantments.

39. Östling, “Äta djävlar, föda ord.”

40. Niemi, Populärmusik, 14; Niemi, Popular Music, 14.

41. Niemi, Populärmusik, 74; Niemi, Popular Music, 74.

42. Niemi, Populärmusik, 77; Niemi, Popular Music, 78.

43. Halberstam, Queer Time and Place, 160.

44. Niemi, Populärmusik, 204; Niemi, Popular Music, 204.

45. Geffen, Glitter Up the Dark.

46. Geffen, Glitter Up the Dark, 18.

47. Geffen, Glitter Up the Dark, 19, 23.

48. Geffen, Glitter Up the Dark, 26.

49. Niemi, Populärmusik, 237; Niemi, Popular Music, 237.

50. Kieri, Vårt värde, 26.

51. In my writing about the narrator, I will use either “she” or “they” pronoun, depending on whether the passage I’m discussing uses singular “I” or plural “we.”

52. Fasselt, “(Post)Colonial We-Narratives.”

53. Kieri, Vårt värde, 8.

54. Kieri, Vårt värde, 9.

55. Kieri, Vårt värde, 11.

56. Kieri, Vårt värde, 49. The mine strike likely refers to the Great Miners’ Strike (Stora Gruvstrejken) of 1969–1970 in Sweden, which included miners from Kiruna, Luleå, Malmberget, and Svappavaara.

57. Kieri, Vårt värde, 27.

58. Laakso, Our Otherness, 98.

59. Kieri, Vårt värde, 119.

60. Kieri, Vårt värde, 72.

61. Kieri, Vårt värde, 119.

62. Kieri, Vårt värde, 121.

63. Kieri, Vårt värde, 121.

64. Kieri, Vårt värde, 147.

65. Kieri, Vårt värde, 103.

66. Kieri, Vårt värde, 63.

67. Kieri, Vårt värde, 11.

68. Kieri, Vårt värde, 11.

69. Kieri, Vårt värde, 8.

70. Kieri, Vårt värde, 8.

71. Kieri, Vårt värde, 148. “Mahoton” means “tremendously” in Finnish; it is not translated within the novel’s text, but it is included in a list of words in Meänkieli and their Swedish translations.

72. Bekhta, We-Narratives, 11.

73. Fasselt, “(Post)Colonial We-Narratives,” 156.

74. Fasselt, “(Post)Colonial We-Narratives,” 164.

75. Fasselt, “(Post)Colonial We-Narratives,” 163.

76. Kieri, Vårt värde, 137.

77. Hirsch, Generation of Postmemory.

78. Kieri, Vårt värde, 29.

79. Kieri, Vårt värde, 73.

80. Kieri, Vårt värde, 56.

81. Kieri, Vårt värde, 56.

82. Kieri, Vårt värde, 56.

83. Vikgren, Antikeksiskväde.

84. Heith, Experienced Geographies, 138.

85. Heith, Experienced Geographies, 139.

86. Kieri, Vårt värde, 149.

1. Westberg, “Girls’ Gymnastics,” 62–63.

2. Formark and Bränström Öhman, “Situating Nordic Girls’ Studies,” 5. Formark and Öhman paraphrase Elina Oinas and Anna Collander, “Tjejgrupper: rosa rum, pippifeminism, hälsofrämjande?” in Kvinnor, kropp och hälsa, ed. Elina Oinas and Jutta Ahlbeck- Rehn, 275–99 (Lund: Studentlitteratur, 2007).

3. Hübinette, “Good Sweden.”

4. For example, Annica Wennström’s novel Lappskatteland or Liselotte Wajstedt’s documentary road film Sami nieida jojk. See also Satu Gröndahl’s discussion of contemporary Sámi literature in Gröndahl, “Att komma hem.”

5. Locke, Democracy and the Death of Shame.

6. For example, Laestadius’s young adult novels, like SMS från Soppero or novels like Stöld and Straff.