From Publishers Weekly
In payment for his participation in Charles XII of Sweden's campaigns of the Great Northern War, Bengt of Lowenskold was awarded the rank of major general and the gaudy ring of the title. In due course, "Big Bengt" is interred with his trinket, but barely is he in the grave when the ring is taken for "safekeeping" by a local farmer, thereby setting the stage for the Nobel laureate's 1925 novel of long-held grudges and revenge. The ring, of course, is accursed, bringing the dead general's wrath upon both guilty and unwitting possessors alike until one woman's selfless love breaks the cycle. Like her Norwegian contemporary Sigrid Undset, Lagerlof returned to the Scandinavian past for her subjects but she also indulged in a taste for the fabulous. Here, as in her best-known work, Gosta Berling's Saga , the supernatural figures prominently. But with little of the descriptive sense that marks an historical work like Undset's Kristin Lavransdatter , this first installment of Lagerlof's trilogy is less a Scandinavian epic than a rather exotic ghost story.
Copyright 1991 Reed Business Information, Inc.
Review
In 1909, Selma Lagerlof became the first woman and the first Swede to win the Nobel Prize for literature; today, she is almost completely unknown in the United States. Only recently have present-day readers had access to an English translation of
The Lowenskold Ring, a gripping, moving novel that combines a ghost story with political, cultural, and psychological analysis. The story is told by one of a long line of women who have sat round the fire, spinning, weaving, and telling stories. It begins with a splendid ring, given to General Lowenskold for service to King Charles XII. The General wants the ring buried with him, and even though it could feed many of the farmers left hungry by years of war, it is agreed - it will be buried. But the ring is stolen from the tomb, and from that point on, the General's ghost walks abroad, exacting revenge. There is far more to this story than the supernatural effects, however. Like one of the women sitting around the fire, combining work and stories, Selma Lagerlof maintains the tension of the ghost story, while at the same time giving us insight into eighteenth-century Sweden, life among the elite and working classes, the role and lot of women, and the essential question of certainty itself. How do we judge innocence? How do we know our own motives? And who, or what, makes us do what we do?
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From 500 Great Books by Women; review by Erica Bauermeister