The work of Anni Swan (1875–1958), the first classic children’s writer in Finnish, is
closely linked to the world of fairy tales (6 vols, 1901–1923). The narrative is lyrical,
often symbolic, but places the child at the centre. Her many books for young adults
feature both boys and girls. Pikkupappilassa [In the Small Vicarage] (1922) and Ulla ja
Mark [Ulla and Mark] (1924) are two highlights. Notable works of their day were the
fantastic and burlesque stories about ‘the Kiljunen family’ (1914–1925) written by
Jalmari Finne (1874–1938). After independence in 1917, the production of children’s
books in Finnish increased, although it mainly consisted of traditional boy’s and girl’s
stories.
Among the more innovative Finno-Swedish authors during the first half of the century
was Nanny Hammarström (1870–1953) who published several animal stories;
internationally known is Två myrors äventyr [The Adventures of the Two Ants] (1906). Of
interest in the 1920s and 1930s are the nonsense stories by Lisa Cawén-Heikkinen and
the lyrical fairy tales by Viola Renvall, both probably influenced by Finno-Swedish
literary modernism. A popular and lyrical fairy story in Finnish was Pessi ja Illusia [The
Earth and the Wings] (1944), by Yrjö Kokko.
The foremost name in Finnish children’s literature is however Tove Jansson (b. 1914),
one of the great modern Swedish-language authors. The nine Moomin books (1945–
1970) with their closely observed psychology, wisdom and humour have been translated
into more than thirty languages. They all play on a basic theme of order and chaos. The
first books are marked by the apocalyptic mood of the post-war era although in the end
life emerges triumphant. The lightest in spirit is Trollkarlens hatt [Finn Family
Moomintroll] (1948); the later Trollvinter [Moominland Midwinter] (1957) is darker and
deals with questions of identity. The dreamlike finale of the profoundly original Moomin
world is Sent i november [Moominvalley in November] (1970). Since then Jansson has
written mainly for adults. Her work for children is based on a close interaction of text
and illustration. Most visually elegant of her picture books is Hur gick det sen? [The
Book about Moomin, Mymble and Little My] (1952). The world-famous Moomin comics,
based on the books, began in the early 1950s.
Fantasy and fairy tale have by tradition had a great impact on Finnish children’s
literature, and this phenomenon did not change after the war—rather the contrary. Aila
Nissinen (1916–1973) and Marjatta Kurenniemi (b.1918) are two representatives of the
1950s. Writers have contributed in different ways to the innovations of these two genres
but the foremost names are Irmelin Sandman Lilius (b.1936), a Finno-Swedish author,
and Kaarina Helakisa (b.1946). In Tulavall, the literary universe of Sandman Lilius,
reality interacts with supernatural forces: it may be described as an amalgamation of
fairy tale, myth and fantasy. A central work is the trilogy about the mythical queen Mrs
Sola (1967–1971), including Gullkrona gränd [Gold Crown Lane], Gripanderska garden
[The Gold-Maker’s House] and Gångande grå [Horses of the Night*]. A deliberate female
perspective is revealed in the writings of Kaarina Helakisa, as in the adapted folk-tale
Olena ja Vassuska [Olena and Vassuska] (1979). Her fantastic stories often include
surrealistic elements. Since the 1970s Leena Krohn (b.1947) has been a popular writer
of literary fairy tales, while fantasy and humour are the tools of Hannu Mäkelä (b.1943).
Realistic books, however, did not become important until the 1960s. Among
the notable Finno-Swedish authors for smaller children are Bo Carpelan (b.1926) and
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