#gunnar olsson

[genevieveetguy]

When the Light Breaks, Rúnar Rúnarsson (2024)

[byneddiedingo]

The Seventh Seal (Ingmar Bergman, 1957)

Cast: Gunnar Björnstrand, Bengt Ekerot, Nils Poppe, Max von Sydow, Bibi Andersson, Inga Gill, Maud Hanson, Inga Landgré, Gunnel Lindblom, Bertil Anderberg, Anders Ek, Åke Fridell, Gunnar Olsson, Erik Strandmark. Screenplay: Ingmar Bergman. Cinematography: Gunnar Fischer. Production design: P.A. Lundberg. Film editing: Lennart Wallén. Music: Erik Nordgren.

Commentators have sometimes likened the plague that threatens the world of The Seventh Seal to the threat of nuclear annihilation, but I think that misses the point: For the medieval world, the Plague was a test of faith; for the modern world, the Bomb is a test of humanity. The Seventh Seal is, yes, much too talky: Epigrams about God and Death pile up on one another tiresomely. But it's still a great film, succeeding partly because of its setting in perhaps the last age of faith our civilization will ever know, which adds an urgency to the characters' wrangling with it. The key character in the film is not the knight, Antonius Block (Max von Sydow), despite the familiar images of him playing chess with Death (Bengt Ekerot), but his squire, Jöns (Gunnar Björnstrand), the sardonic commentator on the events in the film. Jöns is our surrogate, the skeptic with a decidedly modern view of his era's religious extremism, such as the Crusade he and the knight have just been on. What we're witnessing is the merciful escape from a god that for some reason Bergman's characters in later films like Through a Glass Darkly (1961) and The Silence (1953) keep hunting: the god of certainty -- the kind of certainty that breeds fanaticism and bigotry. In the end, the knight sacrifices himself to Death so that ordinary people -- the players Jof (Nils Poppe) and Mia (Bibi Andersson) and their child -- may live to continue their secular amusements that had earlier been interrupted by fanatics and flagellants. 

[elarea]

El primero por eliminatorias (1933)

Selección sueca de 1933.

El 11 de junio y por primera vez en la historia, se disputó un partido por eliminatorias que definiría a los 16 afortunados que disputarían la gloria en la Copa del Mundo.

El Grupo 1, conformado por Suecia, Estonia y Lituania, sería el escenario del primer enfrentamiento eliminatorio. Suecia, con una trayectoria futbolística que se remontaba a los inicios del deporte, se perfilaba como favorito ante la joven selección de Estonia, que apenas había debutado en 1920.

Y en Estocolmo, la historia no falló:

Suecia 6-2 Estonia Suecia: Gösta Krusberg, Otto Andersson, Sven Andersson, Walfrid Persson, Harry Johansson, Ernst Andersson, Gunnar Olsson, Torsten Bunke, Bertil Ericsson, Lennart Bunke y Knut Kroon. Entrenador: John Petterson.

Estonia: Evald Tipner, Eugen Einman, Artur Neumann Tarmiäe, Otto Reinfeldt Reinlo, Karl Rudolf Silberg Sillak, Egon Parbo, Georg Siimenson, Richard Kuremaa, Leonhard Kaas, Heinrich UUkkivi y Friedrich Karm. Entrenador: Bernhard Rein

Goles: Knut Kroon (SWE) 7', Lennart Bunke (SWE) 10', Bertil Ericsson (SWE) 13', Torsten Bunke (SWE) 43’, Leonhard Kaas (EST) 47', Richard Kuremaa (EST) 61', Bertil Eriksson (SWE) 70', Sven Andersson (SWE, PEN) 79'.*

[my-chaos-radio]

Release: July 4, 2008

Lyrics:

Me love ya comes out of devotionTo rule ya spread to the worldIn Capetown I'm on my missionWhere we praise the day straight our wayAll the nation

Common‘! Just give it to me – give ot to me

Shine ooooooon

Can’t you feel it

Common‘ just give it common‘

Common‘ just give it common‘

Common‘ just give it common‘

Let me be the love that comes from the sunLet me be your rainbow rising onEvery single race out of spaceWill shine on, shine on!Let me be the love that comes from the sunI wanna be your love light from aboveShine on, shine on, shine on!

Me love ya comes out of devotionTo rule ya spread to the worldIn Capetown I'm on my missionWhere we praise the day straight our wayAll the nationCan’t you feel it

Common‘ just give it common‘

Common‘ just give it common‘

Common‘ just give it common‘

Let me be the love that comes from the sunLet me be your rainbow rising onEvery single race out of spaceWill shine on, shine on!Let me be the love that comes from the sunI wanna be your love light from aboveShine on, shine on, shine on!OK so I wake up hands to the sky, yawn

as the sun shines through the window

be like god damn what a day

today ima flow like a leaf, so we‘ll see where the wind blows

Forth

shine like you made of love, shine like a fading sun

cause if it‘s half full life ain‘t only a good thing i promise you an amazing one

Let me be the love that comes from the sunLet me be your rainbow rising on – Say whatEvery single race out of spaceWill shine on, shine on!Let me be the love that comes from the sunI wanna be your love light from above - just wanna shoutShine on, shine on, shine on!

breeze through your fingers, take a look up, breathe deep, let it linger

talking bout dat get up get out, get out get on, get on get to‘t man we all been there

Just smile like the Cape Town sun

and keep light’n up like you just won the lotto

your heart’s gonna keep you in front

if you gotta good one that‘s the best thing to follow

Songwriter:

Andres Gunnar Ballinas Olsson / Manuel Reuter / Yann Peifer

[byneddiedingo]

The Seventh Seal (Ingmar Bergman, 1957)

Cast: Gunnar Björnstrand, Bengt Ekerot, Nils Poppe, Max von Sydow, Bibi Andersson, Inga Gill, Maud Hanson, Inga Landgré, Gunnel Lindblom, Bertil Anderberg, Anders Ek, Åke Fridell, Gunnar Olsson, Erik Strandmark. Screenplay: Ingmar Bergman. Cinematography: Gunnar Fischer. Production design: P.A. Lundberg. Film editing: Lennart Wallén. Music: Erik Nordgren.

Max von Sydow as Antonius Block in The Seventh Seal (1957)

[motionpicturelover]

"Sommarlek" (1951) - Ingmar Bergman

Films I've watched in 2022 (120/210)

By his own admission, not the best of Bergman's films. I mean, it's not bad, Bergman was too good of an artist to make actually bad films, but not the best. I will say, however, that it is definitely worth watching for Georg Funkquist's performance alone.

I think my biggest problem with this film is that it to a large extent hinges on Birger Malmsten's status as a handsome leading man to have the audience root for/like/have sympathy with him, and in turn be invested in his relationship with Maj-Britt Nilsson's Marie. In reality, though, he's just a young, insecure, bitchy little pup who's simply not that interesting, which ultimately leads to indifference to, even slight dislike for, him.

An example of this is when the film at one stage makes a point of setting Birger Malmsten's Henrik up as the young and handsome counterpart - the obvious choice for Marie - to Georg Funkquist's older "Uncle" Erland, but I can't help but sit there thinking "Faced with the choice between those two, who in their right mind would go for Birger Malmsten over Georg Funkquist??".

"Uncle" Erland may be a bit of a dirty old man, and I'm not saying he would be a right choice for Marie, far from it, but at least he's interesting, and that's the main difference between him and what's-his-face. It's the old unforgivable sin in fiction; you may be naughty, even a bad person, but don't be boring.

[letterboxd-loggd]

Summer Interlude (Sommarlek) (Illicit Interlude) (1951) Ingmar Bergman

April 30th 2022

[abs0luteb4stard]

♛ W A T C H I N G ♔

I got the CRITERION Bluray after years of renting it from the library, watching it on Turner Classic Movies and other things. I've watched it Dubbed, Subbed it's such a pleasurable movie.

It's streaming free on KANOPY, but they don't have the English Dub that was part of the reason I got the Bluray.

Also I wanted to see the Special features and interviews and commentators.

Such a fulfilling allegorical story. It is existentialistic, it's a poem of the contemporary, both of the 1960s and still now 65 years later, today. Maybe even for all time. It's a perpetually modernistic tale told through a setting of the middle ages, the crusades, during the height of the bubonic plague.

The movie's mixture of these elements is a reminder that things don't really change all that much.

The setting, the style change, but the themes of existence, faith, and life; of society and the world, it's a Danse Macabre for us all, and the hope that we might have one meaningful, hopefully remembered, deed before the darkness of finality and death.

[frankenpagie]

3.29.19

[scenesandscreens]

The Seventh Seal (1957) Det sjunde inseglet (original title) Director - Ingmar Bergman, Cinematography - Gunnar Fischer "Is it so terribly inconceivable to comprehend God with one's senses? Why does he hide in a cloud of half-promises and unseen miracles? How can we believe in the faithful when we lack faith? What will happen to us who want to believe, but can not? What about those who neither want to nor can believe? Why can't I kill God in me? Why does He live on in me in a humiliating way - despite my wanting to evict Him from my heart? Why is He, despite all, a mocking reality I can't be rid of?"

[justfilms]

Det sjunde inseglet - Ingmar Bergman 1957

[byneddiedingo]

Maj-Britt Nilsson in Summer Interlude (Ingmar Bergman, 1951) Cast: Maj-Britt Nilsson, Birger Malmsten, Alf Kjellin, Annalisa Ericson, Georg Funkquist, Stig Olin, Mimi Pollak, Renée Björling, Gunnar Olsson. Screenplay: Ingmar Bergman, Herbert Grevenius. Cinematography: Gunnar Fischer. Production design: Nils Svenwall. Film editing: Oscar Rosander. Music: Erik Nordgren. Maj-Britt Nilsson gives a stunning performance as the ballerina haunted by death -- both the literal death of the young man with whom she once had the titular summer interlude and the slow death of her career, which depends on the youthful vitality she can feel beginning to slip away. Like Ingmar Bergman's earlier To Joy (1950), which starred Nilsson and many of the same actors, it's a fable about art and life, about the conflict of the public persona of a career with the personal needs of an intimate relationship. Unlike To Joy, in which Nilsson's character is subordinate to that of her musician husband, Bergman has shifted the focus to the woman -- a focus that he would maintain for most of his remaining career. Summer Interlude may be his first great film, and Nilsson's ability to move from the winsome young Marie -- sometimes evoking the young Audrey Hepburn -- to the toughened, successful prima ballerina is remarkable. Perhaps the most startling moment comes when the older Marie removes her stage makeup, which has the effect of making her look older and harder, to reveal the remaining traces of the younger woman -- a fine reversal of the usual film trope of removing the makeup to reveal the effects of aging. 

[365days365movies]

March 11, 2021: The Seventh Seal (1957) (Part One)

Well, I did Cocteau this month already, so...time for another big boi director, I guess.

I’m sorry for me, too, because this one scares me a little more than Cocteau.

Ingmar Bergman. One of the greatest directors of all time, and the only prominent Swedish director that I’ve ever heard of. Also someone whom I’m DEFINITELY not qualified to judge, but here we are anyway.

Best known for Persona, Fanny and Alexander, and...one more movie, Bergman was an EXTREMELY prolific director, and far more influential on global film than you or I know. Seriously, dude influenced everyone from Martin Scorcese to Terry Jones to Peter Hewitt in one way or another. He’s passed away, as of 2007, at the age of 89. And speaking of Death...

There have been a LOT of incarnations of Death in media. Hell, we literally looked at one two movies ago, in Orpheus. You could argue that Ugetsu also revolved around death, but I’m talking about Death, the physical embodiment of the concept.

Now, the most common incarnation seen is the Grim Reaper (pictured above), but there are MANY other well-known versions. Here, have a few different versions, just for taste.

Yeah, that’s a lot. Kudos if you knew all of them! But that last one...I mentioned Peter Hewitt earlier. He directed Bill and Ted’s Bogus Journey, and in it, the two meet that films version of Death, a Swedish-accented ghoul. And if you’ve ever wondered about that, or about this joke from the opening song of Muppets: Most Wanted:

...Well, keep reading. Like I said, Bergman was influential, and perhaps NONE of his films was quite as influential as The Seventh Seal or Det sjunde ingelet. Welcome to a show about Death.

SPOILERS AHEAD!!!

Recap (1/2)

ONCE AGAIN, The Criterion Collection logo brings us in, followed by the opening credits and music from that should accompany a Dark Souls boss, followed by a quote from Revelation 8:1-6, about the opening of the Seventh Seal. Roll credits?

Well, no. Instead, on the shore of the Atlantic Ocean, we meet a knight, resting there and praying to God, as his horses drink from the salt water. This is Antonius Block (Max von Sydow), a knight who is resting here with his squire, Jöns (Gunnar Björnstrand). As Block takes out his chess set, he is joined by...

ALREADY?

Holy shit, I didn’t expect this scene to happen FOUR MINUTES IN??? Dear Lord, if this is happening now, what the hell is the rest of this movie? I am afraid of that answer now.

Anyway, yes, this is Death (Bengt Ekerot). And yeah, dude is indeed a CREEPY motherfucker. He’s been at Block’s side for a long time, but has now finally come for him, at last.

However, Block, ever clever knight that he is, capitalizes on rumors that he’s heard about the character, and challenges him to a game of chess. They start, with Block playing white and Death playing black.

But as they’re about to begin, we cut to Block and Jöns leaving the beach. Huh. OK then, I guess we’ll get back to that, huh? Jöns speaks of ill omens, and they see a pair of corpses, rotted after a long time dead. As their journey continues, we shift focus from them to a small group of actors in a caravan.

One of these actors - Jof (Nils Poppe) - sees a vision of a woman walking with her infant child, as angelic music plays in the background. He runs back to the caravan, where he wakes the sleeping Mia (Bibi Andersson), his wife. He tells her that this was the Virgin Mary and her baby boy, Jesus. Um...wow. Holy shit, my man.

Mia takes her husband’s vision as his active imagination, while he takes it as pure fact. Apparently, he’s very prone to having these kinds of visions. Mia warns him to tamp those visions down, or people will think him a fool. All of this rouses both fellow actor Jonas Skat (Erik Strandmark), and Jöns and Mia’s infant son Mikael (a cute chubby baby).

The troupe is on their way to Einsmore, performing for a group of priests. They will perform in a play about Death, once again making me think about Beetlejuice the Musical, which is really need to watch.

Block and Jöns arrive at a church, where real-world painter Albertus Pictor (Gunnar Olsson) is painting a Danse Macabre. Jöns asks why paint something so...well, macabre, and Pictor notes that it’s not a bad thing to remind people that they will die. This is especially as the Black Plague sweeps across Europe. YUP. IT’S THAT TIME PERIOD.

The two speak more on the absolute HORROR of the Bubonic Plague, a topic that clearly bothers Jöns. Meanwhile, Block goes to pray in a confessional, where he reveals that he doesn’t truly understand the point of prayer in this world. He’s clearly struggling with his faith, which must be HELL for a knight. And he delivers these confessions to his ever-present companion: Death.

Block wants God to speak to him directly, and questions whether or not God truly exists. He wants to do one last, meaningful thing before he meets his inevitable end. Block hasn’t yet realized that he’s speaking with Death, and openly talks about the chess game they began that morning. Death replies that they will continue their game in a nearby inn. This is how Block intends to prolong his own life.

He goes back out to meet Jöns, who’s still speaking with the painter, and the two leave the church. Directly outside, a woman is in the stocks, and is preparing to be burnt at the stake for learning carnal knowledge of Satan. She’s also being blamed for being the cause of the Black Plague itself. Just gotta say, big if true, goddamn. Black wants to know if she’s met the Devil himself, but she’s not quite all there.

Block and Jöns continue their journey, making their way from farmlands. Jöns goes into one of the barns in a village, where a dead body lies. He then hides as another man enters, and steals jewelry from the woman’s corpse. This is Raval (Bertil Anderberg), and he’s quickly caught in the act by a mute woman (Gunnel Lindblom).

However, before he can do anything to this poor girl, he’s stopped by Jöns, who recognizes him from the seminary, ten years prior. He tells him to shove off, and offers the mute woman a place as his housekeeper. And, uh...yeah, Jöns is kind of a dick, but more of a cad, y’know? He’s not likeable, but he also isn’t hateable.

In town, the actors’ troupe is performing, and the leader of the troupe - Skat - is seduced by a woman during the performance, and they have sex in the bushes behind the stage. As all of this is happening, the performance is interrupted by a group of flagellants, extremist priests that whip themselves and parade through the town, showing their extreme devotion to their faith. Fuckin’ yikes, this is a thing that ACTUALLY HAPPENED.

And as these people, devoted in their faith and pain, march through the town, the townspeople are moved to tears by this act. And this act has real blood, sweat, and tears poured into it. The head priest of the parade then gives a fatalist sermon to the townsfolk, noting that death will come for them all with the plague, and berating them for their seeming ignorance of their fate.

And dude is MEAN. He mocks people’s appearance, and screams to all of them that they’re doomed, and will die painful deaths. Watching on is not only the actors’ troupe, but also Block, Jöns, and the mute girl (yeah, she never gets a name, goddamn it). The pain parade moves on, singing their solemn hymns all the way. And I’m not gonna lie...it’s intense. Especially knowing that this shit actually HAPPENED? Damn.

Once they pass, Jöns notes his disbelief at this display, never believing how far people will go, or the stories that they’ll tell. He’s interrupted by blacksmith Plog (Åke Fridell), who’s looking for his wife. Meanwhile, inside, a group of townspeople talk about the spreading plague, and wonder if this is the end times indeed. Plog comes in and asks Jof where his wife is. He also doesn’t know, but it’s revealed that this is the woman that Skat ran off with in the bushes. The conversation is joined by thief Raval, who outs Jof as an actor, and a friend of Skat.

Raval and Plog both threaten him for information on Skat and Lisa’s whereabouts, and humiliate him in front of the entire tavern. It’s actually quite hard to watch as well. This poor, poor guy, who seems like a nice enough dude, is essentally tortured for the transgressions of his asshole friend. But it’s interrupted by Jöns, who stops Raval in his tracks, and slashes his face, which he said he’d do if he ever saw him again.

Excellent spot for Part 2, I think! See you there!

[thinkingimages]

DANIEL BIRNBAUM, ANDERS OLSSON 

As a Weasel Sucks Eggs: An Essay on Melancholy and Cannibalism

As is so often the case, it is the poets, and to a certain extent the philosophers, who lead us deeper into the labyrinth of hunger. They have the right distance from the requirements with which the community-engendering meal is connected, either because they are outside the community, or because they have an appetite and a hunger that constantly exceed the boundaries of culture’s sacrosanct regulatory scheme. As a matter of custom, they have adopted a melancholic position, unable to forget the Golden Age of Saturn, an era associated with images of an infinitely rich, flowing abundance—a memory, so easily projected onto the future qua utopia, before which the world in its present form can easily fade into a pale backdrop.

Originally published in Swedish in 1992, As a Weasel Sucks Eggs examines the enigmatic relation of melancholia to an early kind of cannibalism, which psychoanalysis, in particular, stressed. It contains reading of, amongst others, Franz Kafka, Samuel Beckett, Thomas Bernhard, Sigmund Freud, G. W. F. Hegel, and the Swedish poet Gunnar Ekelöf. The authors also quote Goethe and Rabelais, for whom food is a cosmic principle, the soil of fertility, on which all creation is based. In a transferred sense, food also plays that same role for the melancholiac—he who questions the normal order of things, who creates an other “unknown food,” with a variety of meanings. The authors “trace the desire for this other food through the ages, and scrutinize its relationship to both primitive sacrificial rites as well as contemporary anthropology, philosophy, and linguistic theory.”

Daniel Birnbaum is Director of the Städelschule and its Portikus gallery and Director of the Venice Biennale 2009. He is the author of several books on art and philosophy. Anders Olsson is a Swedish writer, professor of literature at Stockholm University, and member of the Swedish Academy that awards the Nobel Prize in Literature. Olsson has written some fifteen books on poetry and the history of literature.

[eleonoregustafsson]

Böcker jag läst 2016-2019

På den här bloggen har jag varje år lagt ut en lista på alla böcker jag läst ut från pärm till pärm under året som gått. Men 2016 blev det inte av, inte heller 2017 eller 2018. Framförallt för att listan inte kändes representativ. Under dessa år har olika jobbprojekt gjort att jag behövt ägna mig åt research där jag tvingats läsa utvalda delar i olika böcker istället för enskild bok i sin helhet. Under 2016-2017 läste jag t.ex. mycket om anabaptismen, men det är inget som märks i listan. Men nu har jag ändå bestämt mig för att lägga ut den. Kolla gärna in taggen #aureliaguläser på Instagram, där lägger jag ibland ut boktips och små recensioner (och där syns även de böcker jag inte läst från pärm till pärm utan bara utvalda delar). 

2019: 40 böcker

Böcker om Bibeln Sitting at the feet of Rabbi Jesus av Ann Spangler och Lois Tverberg A Life that’s good av Glenn Pemberton (om Ordspråksboken) Phoebe – a Story av Paula Gooder Hebrews av Mary Healy Priscilla av Ben Witherington III The Torah’s Vision of Worship av Samuel E. Balentine Reading Backwards av Richard B Hays

 Kristen ledarskapslitteratur If You Love Me av Matthw The Poor (på arabiska Matta-Al-Miskin) A Pastoral Rule for Today av Burgess, Andrews & Small

 Kristen uppbyggelselitteratur The Arena av Ignatius Brianchaninov How to be a Sinner av Peter Bouteneff 

Teologisk litteratur Paradiset åter av Tomas Einarsson Journyes of the Muslim Nation and the Christian Church av David W Shenk 

Kyrkohistoria The Patient Ferment of the Early Church av Alan Kreider 

Reportageböcker och dylikt Med Guds hjälp av Gabriel Byström Skärmhjärna av Anders Hansen Bön för Tjernobyl av Svetlana Aleksijevitj En piga bland pigor av Esther Blenda Nordström Tidens second hand av Svetlana Aleksijevitj A Time to Die av Nicolas Diat

 Romaner Beckomberga av Sara Stridsberg Bränn alla mina brev av Alex Schulman De kommer drunkna i sina mödrars tårar av Johannes Anyuru Vända hem av Yaa Gyasin Din stund på jorden av Vilhelm Moberg Den svalgula himlen av Kjell Westö Längtans flöde av Alva Dahl Pappaklausulen av Jonas Hassen Khemiri Sveas son av Lena Andersson Arv och miljö av Vigdis Hjort En dag i Ivan Deniosovitjs liv av Alexander Solsjenitsyn Konturer av Rachel Cusk Testamente av Nina Wähä Jag for ner till bror av Karin Smirnoff

 Biografier och självbiografisk litteratur Utan nåd – en rannsakan av Fredrik Virtanen Allt jag fått lära mig av Tara Westover Konsten att feja arabiska av Lina Liman Löparens hjärta av Markus Torgeby Vilket jävla solsken av Fatima Bremer En bokhandlares dagbok av Shaun Bythel

2018: 28 böcker

Romaner Never let me go av Kauzo Ishiguro Min kamp 3 av Karl-Ove Knausgård Mitt liv och ditt av Majgull Axelsson Min kamp 4 av Karl-Ove Knausgård Min kamp 5 av Karl-Ove Knausgård Min kamp 6 av Karl-Ove Knausgård Sågspån och led av Vibecke Olsson Amerikauret av Vibecke Olsson Själasörjaren av Christine Falkenland

 Kristen uppbyggelselitteratur Helig rot av Peter Halldorf (för 3e gången?) Hädanefter blir vägen väglös av Peter Halldorf  (för 4e gången?) Bottenkänning av Fredrik Lignell Through, with and in him av Shane Kapler 

Teologisk litteratur Välkomna varandra av red. Tomas Poletti Lundström 

Böcker om Bibeln Korsets mysterium av Agne Nordlander 

Kyrkohistoria The Forgotten Desert Mothers av Laura Swan Biskop Lewi Pethrus av Joel Halldof

 Självbiografisk litteratur Sorgens gåva är en vidgad blick av Patrik Hagman När livets stramas åt skärps blicken av Sofia Camerin När träden avlövas ser man längre från vårt kök av Tomas Sjödin (för 2a gången) Välkommen in i min garderob av Anton Lundholm Kristunge av Malin Aronsson En shetel i Stockholm av Kenneth Hermele Hur jag lärde mig att förstå världen av Hans Rosling Katolska läror av Gunnel Vallquist Livets ord: mina tio orimliga år som frälst. Del två, Förnyad & befriad av Tomas Arnroth 

2017: 32 böcker

Romaner Ta itu av Kristina Sandberg Den döende detektiven av Leif GW Persson Gilead av Marilyone Robinson De polygotta älskarna av Lina Wolff Tystnaden av Shusaku Endo Utvandrarna av Vilhelm Moberg (för 2a gången) Invandrarna av Vilhelm Moberg (för 2a gången) Nybyggarna av Vilhelm Moberg (för 2a gången) Bricken på Svartvik av Vibecke Olsson Min kamp 1 av Karl-Ove Knausgård Sista brevet till Sverige av Vilhelm Moberg (för 2a gången) Hemma av Marilynne Robinson Min kamp 2 av Karl-Ove Knausgård

 Reportageböcker och facklitteratur Halleluja Brasilien av Kajsa Norell Två systrar av Åsne Seiersdal Rom – en stads historia av Eskil Fagerström

 Självbiografiska böcker och biografier Letters from the Desert av Carlo Carreto Bonhoeffer av Eric Metaxas Det finns annan frukt än apelsiner av Jeanette Wintersson Livets ord: mina tio orimliga år som frälst. Del ett: de första åren av Tomas Arnroth Brev från en klostercell av Hans Gunnar Adén Århundrades kärlekshistoria av Märtha Tikanen

 Ledarskapslitteratur När du leder av Josefin Arenius Ledarens hantverk av Lennarth Hambre

 Kristen uppbyggelselitteratur Klostret av James Martin SJ (egentligen en roman) Kristliga råd och betraktelser av Fénelon Becoming Who You Are av James Martin SJ

 Teologisk litteratur Inte allena av Patrik Hagman & Joel Halldorf Martin Luther – hans liv, lära och influytande 500 år senare av Stephen J Nicholas Att älska sin nästas kyrka som sin egen av Peter Halldorf 

Böcker om Bibeln The Theology of the Letter to the Hebrews av Barnabas Lindars SSF

 2016: 38 böcker

Romaner Torka aldrig tårar utan handskar: Sjukdomen av Jonas Gardell Torka aldrig tårar utan handskar: Döden av Jonas Gardell Levande och döda i Winstord av Håkan Nesser Innan floden tar oss av Helena Thorfin Århundrades kärlekskrig av Ebba Witt-Brattström  Drömmen om Elim av Vibecke Olsson De ensamma av Håkan Nesser Flickvännen av Karolina Ramquist En mörderska bland oss av Hanna Kent Flykten av Jesús Carrasco De oroliga av Linn Ullman Glöm mig av Alex Schulman

 Facklitteratur Kunskapens frukt av Liv Strömquist

Reportageböcker Det heliga berget av William Dalrymple 

Självbiografisk litteratur, biografier, memoarer eller dylikt Brännpunkter av Thomas Merton  Jag sökte Allah och fann Jesus av Nabell Quresh Cigaretten efteråt av Horace Engdahl 96 lampor – om oss som brann och försvann av Jacob Langvik Min pappa Ann-Christine av Ester Roxberg Den sista grisen av Horace Engdahl Älskade terrorist av Anna Svadberg och Jesper Huor Och i Winerwald står träden kvar av Elisabeth Åsbrink Halvvägs av Fredrik Reinfeldt

 Kristen uppbyggelselitteratur Mellan skymning och mörker av Peter Halldorf Den brinnande busken av Lev Gillet Spår av den osynlige av Mikael Hallenius Den helige Ande i den kristnes personliga liv av Kallistos Ware Tron Allena av Bo Giertz (för 2a gången) Gud och intet mer av red. Ulrika Ljungman Contemplating the Trinity av Raniero Cantalamessa Du brinnande kärlekslåga av Peter Halldorf Den som hittar sin plats tar ingen annans av Tomas Sjödin

Kyrkohistoria Following in the Footsteps av Christ av Arnold Snyder Vindarna från väster av Per-Eive Berndtsson A Brief History of Spirituality av Pilip Sheldrake

Teologisk litteratur Som om allt förvandlats – Ekologi, ekonomi och eukaristi av William T Cavanaugh

[vintage-sweden]

Gunnar Olsson, 1917, Sweden.