The story
is set in 1918, during the civil war which raged in Finland as a result of the
political vacuum left behind after the end of the First World War. This
conflict was a horribly literal class war, fought between the mainly middle and
upper class Whites and the Reds of the Socialist Workers’ Republic. The war
lasted fifteen weeks but tens of thousands died, many at the hands of death
squads and executioners.
The
protagonists of On the Shoulders of Otava belong to a unit of the
Womens’ Guard - a division of the Red
Guard. Around 2000 women served in such units, some as young as fourteen. The
story focuses on the experiences of Siiri, and begins with her glimpsing a
shadowy figure in a churchyard, wandering as if in a trance. This figure turns
out to be a fellow – male - soldier who, the next day, carries out a violent,
seemingly unprovoked, attack on the squad leader.
The scene
describing the attack is cleverly written – as are so many within the book – with
the action happening at a distance, almost off-camera and only its aftermath
being described in any detail. The reader gets to share the shock of the book’s
characters as the nature of the wounds which have been inflicted are revealed
in the discussion that follows the attack.
This flash
of violence also serves to introduce the mystical aspects of the story
(although this is kinda foreshadowed with the gothic-tinged shadow in the
churchyard scene). The attack was completely out of character for the
perpetrator – a “goody-goody” by all accounts – but the possibility is raised
that it could be linked to his prior disappearance on a hunting trip in the
woods during which he experienced what may have been a supernatural event.
As the
narrative progresses, and Sirii and her companions find themselves isolated in
those same woods, so the supernatural elements come more into play. The choice
of an ancient woodland as location is a perfect one and an incredible sense of
atmosphere is generated by some wonderful prose. It’s an inspired choice of
location too, given the prevalence of the natural world, and animals in
particular, in Finnish folklore. Most notable among these are Otso, the bear - a
major player in the creation mythology and Tulikettu the firefox. Amid the
established mythology, Laura has added (as far as I can tell) her own invention
– that of ghost-lighting. It’s an intriguing concept, and one which lies at the
heart of the narrative - so any further discussion here will unavoidably lead
to spoilers.
Finnish
folklore is possibly less well known to most than other nations’ variations –
not least the Norse mythology of their Scandinavian neighbours and therefore
necessitates some introduction. This is done skilfully however; the stories are
cleverly woven into the narrative, never once feeling bolted on, instead
merging into the flow of the story seamlessly.
Ambiguity
plays a big part of course. The best weird fiction balances the fantastic with
the normal, allowing the reader to arrive at their own decisions as to what is
real and what isn’t. It’s all too easy to fall into the trap if being too
obtuse, and leaving the reader scratching their head as to what they’ve just
read. Such is not the case here. That fine line has been navigated very
successfully and the novella is as accomplished at creating a sense of awe and
wonder as it is in recording the harsh reality of being at war in a hostile
climate.
On the
Shoulders of Otava
is a wonderful piece of writing. It’s beautifully constructed, the themes it
establishes in the opening scenes carried through consummately to the
conclusion. It’s a (relatively) short read but manages to pack in some great
characters (and their interactions and motivations), social and political
comment that doesn’t bludgeon the reader, elegant prose (written in a hugely
involving present tense), a brilliantly created sense of atmosphere and a
salutary reminder of mankind’s place (i.e. insignificance) in the grand scheme
of things. It’s a book I highly recommend.
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