Written by Sol Svensson
Find Sol on Instagram @solsvensson_
Most have probably heard of Nordic noir. The dark, brutal novels that feature troubled detectives struggling with themselves as much as with the cases they work on. Some may know that the Nobel Prize in Literature is awarded each year in Stockholm, the most prestigious literary award recognized worldwide. But Sweden’s literary scene goes beyond that, with each of our big cities having its own literary identity and an alternative scene that deserves as much attention. It is hard to describe the current atmosphere of Sweden’s literary scene. It has just started to recover from the pandemic, and the energy is volatile under the pressure of economic obstacles that resulted from it. In our metropolises, there is a well-established and active literary scene that includes release parties, book fairs, and festivals. The biggest book fair in the Nordic countries is actually held in Gothenburg. In addition to international authors, several Swedish authors who publish abroad participate in the book fair, such as Jonas Hassen Khemiri, Alex Schulman, and Karolina Ramqvist. Yet, small public libraries are closing down, publishing houses are teetering on the verge of bankruptcy, and authors find it hard to make a living.
Most of the largest publishing houses are based in Stockholm, and the capital city acts like a hub for the literary scene. But you have to find your own way in. Follow the right accounts on Instagram, keep an eye out for events on Facebook, wander around the city and hope you stumble upon a poster, or remember which places usually host literary events. It is hard to familiarize yourself with this scene if you are a stranger trying to find your way in. Literary magazines are almost exclusively sold online, and their release parties are often held in a seedy bar where other guests don’t realize they need to be quiet during readings. Literary talks are held in an odd room in a library you aren’t sure if it has been closed down or not, and for whatever reason it’s always so hard to find the right entrance door. And all the official, prestigious events are invitation-only or cost money. But it is there, and the people who run it know they won’t get paid for it or be able to make a living. Yet they continue because they’re passionate about literature and culture and understand how important it is to make it accessible to everyone. The alternative spaces feel more like cultural centers than businesses. An antique shop I frequently visit used to have an underground club, held poetry readings, and sold beers as books to stay open. A Chinese restaurant served as a gathering point for Gothenburg’s counterculture in the late seventies. This matters because it becomes less formal and invites new people into the scene. Small publishers, literary magazines, poetry communities, and local festivals create spaces where writers can experiment without necessarily having to fit into the commercial model you find in Stockholm. These places are often where the most interesting new voices emerge, and granting and funding make it possible. In Sweden, there is currently a strong dialogue about literature and its value, but also about funding and access. The Swedish Arts Council has been tasked with allocating more funding to initiatives that promote reading, starting next year in 2027. The debate over Swedish children’s declining ability to read and write has sparked fears in the government about a new generation of illiterates. This is promising, especially after local politicians have cut funding for culture over the past ten years, as these grants will allow people across the country to start their own projects, whether as non-profit associations or by hosting literary events that draw people in.
It is still unknown how all this will unfold, as the result will be presented in 2028, but it is something when we, for so long, have been given so little. Sweden’s literary scene is multifaceted. Nordic noir may be one of the bestselling genres right now, but that doesn’t mean it is the entire literary scene. The literary scene extends beyond the mainstream you will find in Stockholm. In Lund, literature is deeply intertwined with academia. In Gothenburg, the scene is more independent and connected to working-class traditions. The award-winning novel Collected Works by Lydia Sandgren is set in Gothenburg and explores its literary scene as well as journeys through social classes. Each city has a distinct literary character, which creates a dynamic, diverse scene, and the literature encompasses themes of migration, class, rural and urban life, and changing ideas about Swedish identity. The literature has always been deeply anchored in our culture and politics, and acts as a mirror to society. This is interesting because Sweden itself is changing rapidly, similarly to the rest of Europe, and the new literature reflects that. Sweden is often presented internationally as a stable, progressive society, but there is a growing anxiety within our population. We are currently facing a new election, hoping it will change things for the better, and wishing that funding will come our way so we can keep a lively literary scene. There has always been a strong belief in the social function of literature in Sweden, not just entertainment. Nordic noir is crime fiction set in Scandinavia, but what makes it so captivating is its ability to explore societal issues through a realistic, dark lens. Stieg Larsson’s Millennium Trilogy is a great example that explores themes of misogyny, violence against women, and systemic corruption alongside the crime itself.
The social function of literature needs to stay alive. We need independent and small publishing, better reading habits, and public libraries available for everyone. This entire literary sphere is under pressure, which calls for the passionate people who keep the alternative scene alive, even if they don’t make a living from it, because it lets new voices emerge and keeps the scene dynamic. Perhaps that is what makes Sweden’s literary scene so significant. It is not only bestselling novels or prestigious literary events, but also small libraries, readings, cultural spaces, and people who keep creating despite little financial security. The future of Swedish literature will depend on whether these spaces can survive and whether new voices are allowed to be heard.
References
September 2026
A Man seated reading at a Table in a Lofty Room, Follower of Rembrandt, about 1628-30.