Finland Travel Quotes

And you came to Finland to build a station?" "No I came here on vacation to visit a friend." "That's good," the driver said. "Vacations and friends are the two best things in life.

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

Finland, that country so like himself, for so long half free and quite comfortable, somehow exempt from the fuss of near-apocalypse.

but for Daphne, and her neighbours’ travels, I would still not know that Finland had a cuisine,

I repeat the names of the cardinal points in Russian: sever, north, desolate asperity of the Gulag; yug, south, a funnel that sucks you down toward the bottom; vostok, east, like the launch of a catapult; and zapad, west, the sound of falling head over heels.

The bear, he says, is many animals in one. Like a lion, he downs mammals much bigger than he; like any ruminant, he pillages crops; he steals grapes and fruit like a monkey; nibbles on berries like a blackbird; plunders anthills and beehives like a woodpecker; digs up tubers and larvae like a pig; and catches fish with the dexterity of an otter. And he eats honey like a man.

Finns have a deep and abiding love of their country’s forests and lakes. In July Finland is one of the world’s most relaxing, joyful places to be – a reason Finns traditionally have not been big travellers. After the long winter, why miss the best their country has to offer? Finns head en masse for the mökki (summer cottage) from midsummer until the end of the July holidays. Most Finns of any age could forage in a forest for an hour at the right time of year and emerge with a feast of fresh berries, wild mushrooms and probably a fish or two. City-dwelling Finns are far more in touch with nature than most of their European equivalents.

One of the few entry points to the Baltic Sea, the Kattegat passage is a busy and treacherous waterway. The entire region is a maze of fractured islands, shallow waters and tricky cur-rents which test the skills of all mariners. A vital sea route, the strait is used by large container ships, oil tankers and cruise ships alike and provides a crucial link between the Baltic coun-tries and Europe and the rest of the world. Navigating is difficult even in calm weather and clear visibility is a rare occurrence in these higher latitudes. During severe winters, it’s not uncommon for sections of the Baltic Sea to freeze, with ice occasionally drifting out of the straits, carried by the surface currents. The ship I was commandeering was on a back-and-forth ‘pendulum’ run, stopping at the ports of St Petersburg (Russia), Kotka (Finland), Gdańsk (Poland), Aarhus (Denmark) and Klaipėda (Lithuania) in the Baltic Sea, and Bremerhaven (Ger-many) and Rotterdam (Netherlands) in the North Sea. On this particular trip, the weather gods were in a benevolent mood and we were transiting under a faultless blue sky in one of the most picturesque regions of the world. The strait got narrower as we sailed closer to Zealand (Sjælland), the largest of the off-lying Danish islands. Up ahead, as we zigzagged through the laby-rinth of islands, the tall and majestic Great Belt Bridge sprang into view. The pylons lift the suspension bridge some sixty-five metres above sea level allowing it to accommodate the largest of the ocean cruise liners that frequently pass under its domi-nating expanse.

Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that.

Come in," she tells her, and she invites her in to see her treasures, all affectionately addressed by diminutive nicknames: taters, carotelles, strawbabies, peasies, and so on. "Explain to your readers that it's a sin not to cultivate the earth," she says to Monika, and her elementary truth startles me. Why don't our priests thunder from the pulpit against this first of all sins?

I've learned in my travels not to ask too many questions. It's better to talk about yourself. Offer something of yourself and your own story so that the dialogue turns into a bartering of firsts.

E adesso, vecchio barbagianni, questa fottuta frontiera ti mancherà," (…). Diavolo, pensai, non c’è nessuna ragione per rimpiangere la frontiera. In breve tempo capii. Mi mancava il sogno, la linea d'ombra da valicare, il senso del proibito. La mia prima spinta al viaggio non era nata proprio dall'esistenza della Frontiera?

Sulla parete, un'icona di San Nicola convive senza problemi con le tette di una bionda da calendario per camionisti.

Passare dal norvegese al russo è cambiare mondo (...); trionfano le i, frequenti e variegate come le betulle.

Perché sono venuto qui? Me lo chiedo a ogni partenza, come se fosse stato l'ordine supremo di uno zar, e non la mia personale volontà, a spingermi lontano.

Noi siamo sul bordo sud del Mare del Nord, tu sul bordo nord del Mare del Sud

Odessa è insieme Istanbul e Lisbona, Pietroburgo e Trieste.

La mappa dice che vado verso il Nord tra due regioni storiche, la Carelia e la Botnia. Due mondi diversi, parrebbe, ma a destra e sinistra vedo gli stessi laghi e gli stessi nevai