"At Tove Ditlevsen de seneste år har fået et internationalt gennembrud med The Copenhagen Trilogy, der består af tre erindringsbøger Barndom, Ungdom og Gift, er noget af det smukkeste, der er sket i nyere dansk litteraturhistorie. Hun må rotere af stolthed i sin beskedne grav på Vestre Kirkegård."

(Fra forordet til Ditlevsen. En biografi af Jens Andersen, Gyldendal 2022)

I 2027 er det 50 år siden Tove Ditlevsen udgav erindringsbøgerne Barndom og Ungdom, der sammen med romanen Gift fra 1971 blev udgivet i USA i 2021 med titlen "The Copenhagen Trilogy - Childhood, Youth, Dependency". Ved årets slutning opnåede trilogien placering på The New York Times' prestigefyldte liste over årets 10 bedste skønliterære udgivelser i USA.

Siden er hendes bøger blevet oversat til mere end 30 forskellige sprog inklusiv japansk, islandsk, letlandsk, bulgarsk, tysk, tjekkisk, fransk, italiensk, spansk og portugisisk.

"Da Tove Ditlevsen skrev sig ind i verdenslitteraturen" er en byvandring om forfatterens sidste år, da hun boede på H.C. Andersens Boulevard i København. Der er fokus på forfatterskabet i perioden1963-1976 og de meget markante modernistiske værker, som hun skrev sideløbende med dybe og næsten tilintetgørende personlige kriser. Meget stærke eksempler på hendes modernistiske skrivestil i denne periode er romanen Ansigterne (1968) og novellen Måden fra novellesamlingen Den onde lykke (1963).

I dette livskapitel havde Tove Ditlevsen for længst forladt baghuset i Hedebygade på Vesterbro, lejligheden i Sydhavnen og villaerne i Gentofte og Birkerød, men erindringerne om barndommen, ungdommen og forliste ægteskaber var stadig primære inspirationskilder og drivkraften i forfatterskabet. Samtidig skrev hun skarpe, modige, engagerede og ofte meget humoristiske klummer, kommentarer og essays i ugeblade og aviser. Og det hele i et rigt og beundringsværdigt sprog, som i sig selv har stor og vedvarende værdi.

På byvandringen er der stop og fortælling bl.a. ved herskabslejligheden på H.C. Andersens Boulevard, Ekstra Bladet, hvor ægtefællen Victor Andreasen var chefredaktør, Forlaget Gyldendal i Klaraboderne, Kvindernes Bygning i Niels Hemmingsens Gade og Det Berlingske Hus - Tove Ditlevsen var en skarp debattør og fast klummeskribent på side 2 i B.T.

Det er en byvandring med mange vinkler på Tove Ditlevsens liv og forfatterskab, som primært henvender sig til et voksent publikum.

Mødested: Foran Ny Carlsberg Glyptoteket, Dantes Plads 7.

Varighed: ca. 2 timer.

Afstandsberegning: ca. 2 km. Byvandringen slutter ved Hviids Vinstue på Kongens Nytorv.

Priser:

Grupper på 2-4 personer 600 kr.

Er I 5 personer eller flere er prisen 125 kr. pr. deltager.

Litteratur af Tove Ditlevsen

Københavnertrilogien (Barndom, Ungdom og Gigt) Gyldendal 2021

Ansigterne, Gyldendal 1968

Parenteser, Gyldendal 1973

Min nekrolog og andre skumle tanker, Gyldendal 1973

Vilhelms værelse, Gyldendal 1975

Tæt på forfatterne. Tove Ditlevsen om sig selv, Gyldendal 1975

En sibylles erindringer, Gyldendal 1976

Samlede digte, Gyldendal

Samlede noveller, Gyldendal

Biografier:

Tove Ditlevsen. Myte og liv. Karen Syberg, Tiderne Skifter 1997

Ditlevsen. En biografi. Jens Andersen, Gyldendal 2022

Tove Ditlevsens veje. Lilian Munk Rösing, Gyldendal 2025

"Financial Times betegner ”The Copenhagen Trilogy” som en af årets bedste udgivelser. Bogen er på listen over avisens litteraturkritikeres anbefalinger for værker udgivet i 2021, og i sin begrundelse roser anmelder Nilanjana Roy den antikonforme dansker som et ”utroligt geni”.

”Jeg havde få forventninger, da jeg nåede til Tove Ditlevsens Københavnertrilogi – udenfor Danmarks grænser er Ditlevsens formidable omdømme som en digter, skønlitterær forfatter og biografist kun netop ved at blive anerkendt. Fra første side sendte hun et gys igennem mig med disse tre klarsynede, hårde krøniker om ødelæggelse, egocentricitet, afhængighed og skriveriets ekstase,” skriver hun om Tove Ditlevsen, som det prestigiøse kulturmagasin The New Yorker i tilgift til de mange positive anmeldelser fornylig bragte en oversat novelle af."

(Kristeligt Dagblad, 10. december 2021).

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Praise for "The Copenhagen Trilogy" by Tove Ditlevsen:

“How does great literature—the Grade A, top-shelf stuff—announce itself to the reader? . . . I bring news of Tove Ditlevsen’s suite of memoirs with the kind of thrill and reluctance that tells me this must be a masterpiece . . . [The trilogy is] the product of a terrifying talent.” —Parul Sehgal, The New York Times

"A beautifully written and relatable chronicle for the marginalized." —Patti Smith

“Romantic, spiritually macabre, and ultimately devastating . . . Like a number of dispassionate, poetic modernists—the writers Jean Rhys and Octavia Butler, say, or the visual artists Alice Neel and Diane Arbus—Ditlevsen was marked, wounded, by her own sharp intelligence . . . A wonderfully destabilizing writer, she admits to something that a more timid memoirist would never cop to: monstrous self-interest. By baring her bathos along with her genius, she makes us reflect on our own egotism.” —Hilton Als, The New Yorker

“The language is elegant—as natural, responsive, and true as wet clay—and the observations provide the pleasurable shock of precision, rather than the sort of approximation we have more reason to expect when reading . . . The experience is overwhelming—it’s as if Ditlevsen has moved into your head and rearranged all the furniture, and not necessarily for your comfort. The book is as propulsive as the most tightly plotted thriller; even when you want to put it down, it seems to adhere to your hands.” —Deborah Eisenberg, The New York Review of Books

“Read together, [the three volumes of The Copenhagen Trilogy] form a particular kind of masterpiece, one that helps fill a particular kind of void. The trilogy arrives like something found deep in an ancestor’s bureau drawer, a secret stashed away amid the socks and sachets and photos of dead lovers. The surprise isn’t just its ink-damp immediacy and vitality—the chapters have the quality of just-written diary entries, fluidly translated by Tiina Nunnally and Michael Favala Goldman—but that it exists at all.” —Megan O’Grady, The New York Times Book Review

“Ditlevsen’s gorgeous memoirs . . . together project a stunning clarity, humor and candidness, casting light not just on the world’s harsh realities but on the inexplicable impulses of our secret selves.” —The New York Times (10 Best Books of 2021)

“[Ditlevsen creates] an intimate world . . . that is both tragic and funny and contains the kind of prose that even in translation, you will want to read out loud.” —Barrie Hardymon, NPR (Best Books of 2021)

“The gradual submersion into addiction and madness is brilliantly accomplished . . . Like Tove herself, the reader is balanced on the surface of the moment, appallingly captive to events as they unfold. This sensation of immediacy—of presence—is what distinguishes The Copenhagen Trilogy from a great deal of contemporary autofiction . . . Ditlevsen’s writing is technically adroit yet feels unconscious, and it brings the reader remarkably close to experiencing the world through another person’s mind.” —Sam Sacks, The Wall Street Journal

“Ditlevsen's brilliance is evident . . . Like Grace Paley and Alice Munro, Ditlevsen's a master of compression who can capture the whole story of a marriage in a couple of pages. With a born writer's killer instinct, she likes to pounce on us with arresting chapter openings . . . She keeps telling us that she's passive and powerless, yet what makes the book hopeful is that she's anything but. Even if writing couldn't save her from herself, it lets her soar above the world's expectations and seek the truth on her own terms.” —John Powers, NPR

“There are some writers whose sentences sting like a steady stream of ice-cold water from the tap, and others whose prose feels pleasurably warm as they gradually increase the temperature. The Danish writer Tove Ditlevsen managed to do both . . . While Ditlevsen’s prose is often straightforward and uncomplicated, the effect is a hypnotic longing, the pull between desiring the life of an artist and wanting some sense of normalcy.” —Michele Filgate, The Boston Globe

“Unnervingly brilliant . . . A masterpiece . . . That all of [Ditlevsen’s] wants are presented to us with such a straight face, even when they are unflattering, is part of what gives The Copenhagen Trilogy its enormous emotional power. It is a story about wanting, about a giant and constantly vexed ambition, offered up to us simply and straightforwardly, as though the book were a pool of clear water and we can see all the way down to the bottom.” —Constance Grady, Vox

“Tove Ditlevsen’s writing is both engulfing and totally controlled. She knows things about life. But just as important, she has a rare capacity to build from the tragic blocks of her life a perfect and eviscerating story. The greatness of her writing feels like an unsolvable mystery: far away, and up above.” —Rachel Kushner, author of The Mars Room

“Elizabeth Hardwick described Joan Didion as ‘a martyr of facticity,’ characterizing her novels as elliptical, quick, and apt to self-crucify on acerbic details. This might just as well be applied to the works of the Danish writer Tove Ditlevsen . . . Her great achievement in The Copenhagen Trilogy was to compose a book that registers at once its author’s claims to continuity and the jagged contours of fact, that allows her projected salvation and terminal despair to coexist—if not in life, then at least on the page.” —Bailey Trela, The Baffler

“Like hundred-year-old glass, Ditlevsen’s writing is elegant, transparent, with glorious whorls of minor distortions and an unaffected beauty, but this seamless surface belies a scaffolding that is forbiddingly sound.” —Hannah Kofman, Los Angeles Review of Books

“No one has written about childhood quite as memorably as the Danish poet Tove Ditlevsen, or described the compulsion to write with so much hope and foreboding. Her memoirs of growing up in working-class Copenhagen before the Second World War read like Ferrante meets Fierce Attachments . . . But Ditlevsen’s brooding lyricism is all her own.” —Julie Phillips, 4Columns

“Ditlevsen is self-deprecating and effective at conveying the fish-eye view of a child in a claustrophobic environment; she understands that part of the memoirist’s job is to remember how life felt and synthesize it in a way she couldn’t have at the time. . . . Ditlevsen is a master of slow realization, quick characterization, and concise ironies.” —Lauren Oyler, Harper’s

“[The Copenhagen Trilogy] is an absolute tour de force, the final volume in particular. They’re as brilliant as I’d been led to expect, but also surprisingly intense and elegant . . . [Ditlevsen’s writing] is crystal clear and vividly, painfully raw.” —Lucy Scholes, The Paris Review

"Astounding . . . Though freely flowing with the cadence of diary entries, Ditlevsen’s narration nonetheless maintains intensive focus, demarcated with razor-sharp prose . . . This confessional masterpiece stands as the crowning achievement of Ditlevsen’s fiercely adventuresome and maverick legacy." —Publishers Weekly (starred review)

"Readers will find [Ditlevsen's] ruthless self-scrutiny both admirable and shocking." —Margaret Quamme, Booklist

“Mordant, vibrantly confessional . . . A masterpiece.” —Liz Jensen, The Guardian

“The best books I have read this year. These volumes slip in like a stiletto and do their work once inside. Thrilling.” —John Self, New Statesman

“Both [The Copenhagen Trilogy and Elena Ferrante’s Neapolitan Novels] depict, with first-hand grittiness and luminous subjectivity, bookish girls growing up in working-class districts, whether in 1950s Naples or 1930s Copenhagen. From an artistic viewpoint, Ditlevsen’s work is the more interesting . . . She looks the slimy and intolerable in the eye and burnishes it into cut glass.” —Lucasta Miller, The Times Literary Supplement

“Astonishing, honest, entirely revealing and, in the end, devastating. Ditlevsen's trilogy is remarkable not only for its honesty and lyricism; these are books that journey deep into the darkest reaches of human experience and return, fatally wounded, but still eloquent.” —Alex Preston, Observer