Death on the Beach

"A captivating and innovative book of essays about how the beach as a geographical and mythical space between land and sea has functioned as an arena for death and violence in literature, art, film and real life." Bors Tidning "Deeply compassionate, provokes novel thoughts and fuels introspection." Lundagrd "Per Hgselius has written an exceedingly interesting collection of essays about humanitys relationship with the seashore, now and in the past. He brings his reader along to various epochs and examines how shores and beaches have been treated in art, literature, myth and film It might seem like a collection of loose ends, but Hgselius expertly pulls them all together in this well-written book, not least by means of his own experiences as a wanderer on the shores of this world." Hkan Andersson in Gotlands Tidningar "That beaches are, on the whole, very bleak places, is convincingly demonstrated in Per Hgselius' Death on the Beach, a lovely, compact little collection of essays which gives these playgrounds of horror and sorrow a thorough onceover, through the twin lenses of art and literature." Petter Lindgren in Aftonbladet "In order to explore the densification of darkness that constitutes the cultural background radiation of beach life, Hgselius has put together a shifting prism of examples. He skilfully highlights the ambivalence that characterises our relationship with the seashore. The book's chapters each deal with a facet of the larger beach theme: shipwrecks, tides, the dying man's longing for the sea, fleeing from one shore to another, the beach as a place of memory and so on. At the same time, they are filled with so much more than that. As an essayist, Hgselius is catlike, he moves nimbly and with admirable agility between historical periods and specific examples. Under his treatment, the vastest distances between subjects and genres, times and places shrink. Before you know it, you have travelled very far, very fast without ever noticing [Hgselius] is a very ambitious stylist. The success of the book also rests on the fact that Death on the Beach isn't just an investigative, analytical text. It is also, like all good essays, the product of a distinctive gaze and character: a piece of reality filtered through a temperament. The texts are characterised by a presence, an author who does things travels, reads, is astonished, turns pages, observes, embraces, discusses, swims, sleeps, goes for walks. It makes them feel more alive, of course, but it also helps to hold the whole affair together." Gustaf Johansson in Tidskriften Respons "Hgselius' charming musings is one of this captivating book's most outstanding qualities. And as a good essayist, he knows how to balance the universal and the particular, collective culture and private experience, and to add colour to the contours of historical examples with the help of his own personal experiences and unique memories. Like in the chapter entitled 'Flight', where an overarching narrative about the countless corpses that washed ashore to litter the beaches of the Baltic Sea at the end of the Second World War blends with the story of how the author during a stay in Borum on Gotland first sees the photograph of Alan Kurdi's lifeless body lying at the waters edge. 'Because in the twenty-first century, the seashore remains a place that more than any other reminds us of the fragility of our existence, that everything can fall apart at any moment.'" Martin Lagerholm in Svenska Dagbladet "The clichd images of beach sunsets and seaside summer homes fade like sun-bleached wallpaper against the dark coastal horrors Hgselius presents in his collection of beach finds from our cultural history. The beach has always functioned as a border against the unknown and decidedly lethal: sea monsters at the edge of the

Per Hgselius grew up in Stockholm, Sweden. As a child he dreamed about becoming an astronomer, which led him to study physics at university. In his teens he discovered palaeontology, history and literature. A hopeless romantic, he wished he had lived in the nineteenth century. He became a passionate traveller, targeting not so much the distant corners of the world but the nearby post-Cold War lands of the Baltic Sea region. His journeys there became the basis for his first non-academic book in Swedish, the historical travelogue stersjvgar (Baltic Sea Paths, 2007). Later on, he fell in love with the North Sea and subsequently with China. Meanwhile Per has pursued an academic career in the history of science, technology and environment. A professor at KTH Royal Institute of Technology in Stockholm, he enjoys juxtaposing different genres and styles of writing in exploring human experiences with technology and nature. He writes regularly for the leading Swedish daily Svenska Dagbladet Agnes Broom has a PhD in Translation Studies from University College London. Her translations include August Prize winners The Expedition by Bea Uusma, The Gospel of the Eels by Patrik Svensson, and Collected Works by Lydia Sandgren, and the 2022 Petrona Award winner Maria Adolfssons Fatal Isles. She is director of the Scandinavian Studies program at Harvard.

Preface 7 1 Caravaggio 9 2 The Beach Killer 22 3 Medusa 37 4 Engulfed 51 5 Katabasis 62 6 Longing 75 7 Terror 84 8 The Bluff 96 9 In the Tidal Zone 108 10 A Realm of Sorrow 121 11 Flight 133 12 Islam of the Sea 143 13 Where the Sand is Lead 157 14 Post-Apocalypse 169 15 The Flood 178 Notes 193 List of Illustrations 205