Kjerstin Norén
writer critic singer performer
final judgement

The Social Being of Man, ed. (1973)

Worth reading is the introduction by the editor.
Staffan Bergsten, Uppsala Nya Tidning


Courses of Nordic prose, ed. (1977)

An ambitious effort of summing up the last years of Nordic prose. It is unfortunately rare that the traditional literary research dares to try out such bold and urgent undertakings.
Conny Svensson, Arbetaren

Inciting and provoking to read. The results of the interpretations are animated, exaggerated, liberating, appealing and partly depressing.
Torben Broström, Information


Red Broads, LP (1977)

A little stiff and rough. But damned clear-cut and fresh.
Magnus Gertten, Sydsvenska Dagbladet

Red Broads pure joy of playing music makes their début something I can wholeheartedly recommend to everybody who wants to listen to good Swedish music.
Gunnar Rehlin, Göteborgs-Tidningen

The record is stuffed with joy and warmth.
Mia Gerdin, Dagens Nyheter

The record is not only living proof of musical maturity but reveals also a well reflected and political direction.
Gunnar Wesslén, Aftonbladet

The coolest thing that happened in Sweden in 1977.
Årets bästa skivor, Aftonbladet


We are plenty, more than fifty, ed. (1978)

Generous to the reader. Thoughtly worked on, inspiring and concentrated on the essentials.
Ingrid Elam, Sydsvenska Dagbladet
Demands active reading and would, if translated into Italian, even contribute to the development of the Italian Women’s Lib.
Ingamaj Beck, Aftonbladet

Hard facts turn into life and movement.
Agneta Klingspor, Arbetaren 

In its very construction it illustrates the fantasy of Women’s Lib, theory is alternated with praxis, essays with poems, interviews and photographs and pictures. Puts forward important questions on the New Left and Women’s Lib.
Maria Bergom-Larsson, Dagens Nyheter


Freedom to die, novel (1979)

There is intelligence and seriousness and an urgent wish for self-criticism and justice.
Ruth Halldén, Dagens Nyheter

In her novel in essay-style KjN appears as a true radical: one that dares to recognize the complications.
Bernt Eklundh, Göteborgs-Posten
Sadly enough Freedom to die is not a very encouraging début.
Ulf Jönsson, Arbetarbladet

For the prejudiced it seriously challenges the common thought – above all that so called women’s literature can be so utterly intellectual and reasoning, with so little ”sensuality” and so much ”celebrant”.
Sven-Erik Liedman, Sydsvenska Dagbladet


Songs of Anne-Marie and other bitches, LP (1979)

Measures how much the music has developed inside the Swedish Women’s Lib. An obvious dignity in being a woman.
Gunilla Tengvall, Dagens Nyheter

What characterizes the arrangements is that they are free. As if they were born together with the words.
Birgitta Larsson, Musikens Makt

KjN wants a female culture that is ”carnal, colourful, sensitive and bold”. And it is true for a lot of things on this record.
Jan Hökberg, Örebro Kuriren

You can play the songs of Anne-Marie and the other bitches many, many times without being bored.
Stina Helmersson, Aftonbladet

Bitchy and wonderful!
Björn Holm, Expressen


Some here, some there, LP (1981)

A combination of lyrics and collages with a sharpness that KjN succeded to keep in the Swedish translations.
Sivert Bramstedt, Dagens Nyheter

To hear singing like that is like being given a shot of vitamines.
Ingrid Strömdahl, Svenska Dagbladet


Else Bauer, monologue, Teater Narren (1981)

Sad to say, that KjN from this excellent point of departure only managed to create a thin display of clichés.
Lars-Olof Franzén, Dagens Nyheter


Womens Songbook, ed. (1983)

There has always been something spiked and provocative in KjN and when she put together Womens Songbook it is not a sweet and kind little songbook you hold in your hands, but a book which is big and thick, full of the most rebellious and outspoken songs about women, mainly (but not only) written by women.
Gunilla Boëthius, Aftonbladet


The joy and suffering of Anna-Klara Larsson, novel (1990)

Hot prose lifts a banal story. With an angels voice.
Ole Hessler, Dagens Nyheter

The novel has strong literary qualities, but the philosophy of its interpretation of time is close to a suicidal novel.
Grethe Rostbøll, Jyllandsposten

The book forces you to think.
Ingegerd Aschan

The remarkable thing that occurs, while thinking you were staring yourself blind on a little sketch you suddenly see a full-filled masterpiece in the picture, which consists of a larger amount of portraits.
Rune J Kähler, Kristelig Dagblad

You cannot deny, that it is a black version of a well known story, that is presented to us by KjN. She found an eminent translator in Inger Christensen.
May Schack, Politiken

A turbulent and fascinating travel.
Anna Nordenstam, Göteborgs-Posten

A catastrophe. Only useful in creative writing as an example how you for God’s sake should not write a novel.
Lennar Bromander, Arbetet

Your text has continued to work – yeah, pain me.
Marianne Hörnström

It’s kind of three-dimensional.
Ann Jäderlund


The Defloration of the Virgins by Bärbel Hinteregger, song (1993)

And when the singer and writer KjN enters the scene between the sculptures, she works out in a text of prosaic painting and in a singing poetry which had the capacity to spellbind.
Lennart Wikström, Bohusläningen


The Emigrant in the scenografic installation The Tribune by Roy Friberg, recitation and song (1994)

A meeting between two pieces of art, each of high individuality, where a strange thing happens, that they during the recitation seems to be each other’s presumption.
Gunnar D. Hansson


The Summer Bird Valley, interpretation and recitation (1977)

An expression of dynamic resignation, which ought not to be hidden, but shown off.
Wolfgang Plagge


The Center of Metric Studies/Nordic Metrics, recitations and text analysis (1993-)

You manage to get under the skin of the text, without annexing it with your own person.
Eva Lilja


I know a villaine by Arne Tolgraven, ed. (1998)

The lyric texts of the book, which are unfinished and raw, are accurately characterized by KjN. She calls them ”temperamental outbursts, mindfulness’s, observations, associations, references to experience and to literature.” Tolgraven has a sharp eye for his outsider fellow-men and shabby environments.
Göran Källqvist   


The Talisman by Ann-Charlotte Alverfors, direction, Teater Kurage (2001)

Tight, rapid and with a sensitive ear.
Cristian Saag, Göteborgs-Tidningen

I think as I applaud ”one more act… I want one more act!”
Johan Franzon, Göteborgs-Posten

The director KjN has found an everyday-expression in the dialogue which creates an adventurous flow between Alverfors’ play upon words with seriousness included and the characters domiciled in a troublesome past.
Anders Thuresson, Bohusläningen


The Reality of Vietnam, lecture (2002)

An interesting, suggestive, lively and very personal lecture, which stimulated the audience to question and debate.
Lars Lönnroth