Eeva Park began as the author of mood poems depicting nature, and has said that she mixed feeling and thought in her poetry, while her prose is a mixture of understanding and memory. In her short prose works there are shades of nostalgia, real shards of memory written down with the help of imagination, but which also contain the anxieties and vicissitudes of Soviet reality over the decades. While her stories contain psychic tension, Park's use of language is succinct and precise. Her collection of short stories Pääse karussellile (Ticket to the Merry-Go-Round, 2000) forms a whole with recurring themes and characters, and is almost a novel.

Eeva Park was born into a writers' family in 1950 in Tallinn. She made her debut late, with a poetry collection, Mõrkjas tuul (Acrid Wind, 1983). Turning to prose in 1988, her first story was based on her grandfather´s diaries and titled Hullu Hansu lugu (The Story of Crazy Hans).

Park's first novel, Tolm ja tuul (Dust and Wind, 1992), forms an autobiographical pair with Naeru õpilane (A Student of Laughter, 1998). It is a post-war saga which follows the fate of a family and depicts the world through the eyes of a protagonist who resembles Park herself and her efforts to shrug off her parents' heritage with a madness which lurks in the family and society itself. These works are dominated by psychological realism and a movement towards a liberating balance and harmony.

She has written radio plays, plays, and short stories. Her protagonist is usually a brave heroine trying to stand up for herself. The author has a keen social nerve, and is a very good story-teller – a bit mysterious. The laconic, precise way of description is enthralling.

Eeva Park's novel Lõks lõpmatuses (Trap in Infinity, 2003) is very different: the author concentrates on current themes of brutality – on human trafficking. Trap in Infinity is an exciting social novel describing a young woman who is smuggled into Germany to work as a prostitute, and her look back over her life up to the present, plus the dramatic dénouement. She returns illegally to Estonia and starts a new life in a shabby slum district with all its scavengers and selfishness, but then kills her smuggler and ultimately herself. Both Berlin and Tallinn are depicted with feeling, and Park describes the less attractive sides of the welfare state. In showing what the trade in human beings in Eastern Europe is really like, Park does not exaggerate, but does manage to generate powerful associations and descriptions. An example of this is how the young woman, when fleeing from her oppressors, ends up at an exhibition by the plastic artist Günther von Hagen, called von Toth in this novel, and feels as if she herself is being flayed alive. The woman she moves in with for protection in Berlin says she is a representative not of a "lost" generation, but of the "last" one. In this fine novel, there is also social criticism as well as to the outcasts of life.
The novel won the Eduard Vilde literary award, and its translation into German by Irja Grönholm received the translation award of Estonian Cultural Endowment’s Literature Foundation for it in 2008. In 2008 the novel was among the five nominees of the prestigious Brücke Berlin Preis. It has also been translated into Norwegian and Swedish and very well received in those countries.


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