Jessie Kleemann is one of Greenland’s most important and most experimental writers. Her poems are included in many anthologies, and she has represented Greenland at many poetry festivals abroad. Filmmakers have used her poems as the basis for films: Arctic Ache (2014) directed by Diego Barraza, and Killerbird (2015) directed by Ivalo Frank. Outside Greenland, she is best known as a performance artist. However, there are usually one or more poems behind these performances, in which the artist invests her body to explore the themes that the poems investigate in rhythm and words. Kleemann published her first poetry collection in Greenlandic, Danish and English in 1997, and her Arkhticós Dolorôs published i 2021 was nominated for the 2022 Nordic Council Literature Prize

Arkhticós Dolorôs
2021, Poems

Publisher Arena
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Arkhticós Dolorôs was nominated for the 2022 Nordic Council Literature Prize

The poetry collection Arkhticós Dolorôs (2021) brings together in an excellent way the themes that have occupied Kleemann for the past quarter-century: The abuse of nature by modern humanity, the loss of indigenous culture, and the struggle for a descendant of the Greenlandic Inuit to find a new identity in a modern, globalised present. Symbols, figures and objects drawn from Greenlandic culture are combined with similar objects from far away – in the same way that different languages, especially Greenlandic, Danish and English, are intertwined to form completely new spaces of meaning. In this way, the cultural mix is experienced both as a loss and as a creative invention that takes us to new and unexpected places.

The text is saturated with emotion, not least pain and frustration – but out of the pain are born new meanings, images and words that challenge the reader to take part in the exploration of life’s conditions and existence that the poems set in motion. Central to Arkhticós Dolorôs is the suffering, melting Arctic. Jessie Kleemann was one of the first to reinterpret the myth of the Sea Mother as a modern symbol of pollution and environmental catastrophe. In Arkhticós Dolorôs, the figure is duplicated in the form of a “creature of the cold”, the inua of ice and glaciers – a soul or being whose pain is violently reflected back at human beings themselves. Kleemann thus shares with us the experience of an indigenous people of the fundamental dependence of mankind on the surrounding nature of which it is a part – interpreted in a late-modern, globalised present.

The fact that Jessie Kleemann is a performance artist is evident in the texts’ use of the white space of the page, and in their mobile progression. It is about Arctic pain, the experience of colonisation, Greenland’s special geopolitical situation and, of course, global warming. These are definitely tough themes, but an irrepressible, teasing humour also bubbles up between the melting ice blocks of the texts – as the publisher aptly describes them in its presentation of the book. (text from the Nordic Councils of Ministers)

Arkhticós doloros
min jord i arktis
issitumi nunanni issora…”

Tallat - Digte - Poems
1997, Poems

Ukiup taallaa  Vinterens digt  the poetry of Winter

Tamatta taalliarput Vores digt Our poem

 

Qaqorpoq aput

silaannaq ulikkaarpoq.

Silaannarimmik

qaalluarissutut mamalimmik

qannerpoq nillersumik

iiorarpara silaannaq suersoq

 

Pingajoqqat tikipput

Qunupput aatsitaalernissamut

seqineq nuippat kissalaarnani

Uunarluni eqqortalerpatigut

Taattorissut qungujuttut naapikkusullugit

anisalerumaarputit

 

Like a small iceberg floating

with the current, melting

into the massive

water floating

 

ullut nittaqakatannarsipput,

seqineq maqaasinarsivoq kissalaaq

qaagit

Kissalaaq sallaatsumik qaagit

qungujunnertut asannilaartumik

qanilliit

 

Whiteout

sne så langt øjet ser

out of white

out of words

det hvide ud af øjnene og langt ind til benet

Qaamaneq qaqortuinnaq

tungujortoq qiianaq

 

Således at det på den måde kan blive varmt igen i dine øjne
Februar 2015, Katuaq, Nuuk.

Publisher Fisker og Schou