A special 80^th anniversary contribution to the Tove Trove library 

“At last they came to a small valley that was more beautiful than any they had seen earlier in the day.”
– The Moomins and the Great Flood

The Moomins and the Great Flood (or Småtrollen och den stora översvämningen in its earliest Swedish-language form), was the first title in Tove Jansson’s original series of stories about a family of benevolent, philosophical trolls with downy fur and soft round snouts, who reside in a rather unusual house in an attractive woodland valley by the sea – although, as Tove sat writing during the Winter War of 1939/1940¹, she couldn’t possibly have known where this humble children’s story would eventually lead.

Naturally, I couldn’t permit the year to pass without re-reading and also writing a little something about a book that is sometimes referred to by dyed-in-the-wool Tovians as the Moomin Creation Story or, as it is termed in her authorised biography, “the myth of moominology²” – it is far too important an anniversary not to share at least one celebratory post. First published in 1945, its 80^th birthday is being honoured around the globe this year with a range of exhibitions and events. I must do my bit.

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“…the roads of Europe were crowded with families, refugees trying to rebuild their lives – and find lost loved ones.”
– Frank Cottrell-Boyce³

The Moomins and the Great Flood is ostensibly a simple account of how the Moomin family came into being, centring on Moominmamma and her son, Moomintroll, as they traverse shadowy woodlands and brave storm-lashed waters in search of missing Moominpappa.

During their journey, they meet a host of eccentric characters, such as the timid ‘little creature’ (known in later works as Sniff), the enigmatic Tulippa and the mysterious Hattifatteners. Each encounter introducing a unique blend of whimsy and melancholy, enriching the trolls’ quest with new perspectives.

Despite its apparent lack of sophistication, the story, which is structured in an episodic manner, resonates with a subtle emotional depth. Themes such as displacement, longing and the pursuit of safety are woven throughout, reflected in the floodwaters and the darkness of the forest canopy. Tove’s illustrations, rendered in sepia hues with delicate, precise linework, enhance the atmosphere, evoking a sense of wonder tinged with unease. Indeed, these early drawings set the stage for her later, more elaborate tales.

In this first book, readers are introduced to key aspects of Moomin ancestry, shedding light on their earliest homes and the traditions defining their way of life. It is revealed, for instance, they are accustomed to hibernating throughout the winter months. Furthermore, the narrative explores the evolution of their dwelling preferences – explaining how, while modern Moomins favour living in towers, their forebears once resided behind tiled stoves. In fact, there are numerous insights into their heritage and the enduring rituals that shape their ways.

As Jansson worked on her story, Europe was in a state of upheaval. The continent stood at a critical juncture, teetering on the edge before being swept into the chaos brought about by the outbreak of the Second World War. The ensuing conflict dramatically altered the political, emotional and physical landscapes across Europe, leaving an indelible mark on its people and their surroundings. Within this context of uncertainty and change, Jansson crafted her story, imbuing it with the underlying sense of displacement and a longing that permeates the narrative.

Great Flood wasn’t published until the final months of war, and Jansson herself described it as a tale written to comfort herself during those dark days⁴. She referred to this work as a fairy story, but in his foreword, Frank Cottrell-Boyce argues that it is a “different kind of fairy story” because it has been “turned upside down.” Unlike a more conventional fairytale in which nothing much happens until the parents are out of the picture, in the Great Flood “Mother is not only coming on the adventure, she’s going to be the hero.” And certainly, Moominmamma guides her son and others who latch on to them “through the darkness and into the light⁵.”

According to Tove’s authorised biographer, Boel Westin, The Moomins and the Great Flood “became a shelf warmer”, selling only 219 copies in 1946⁶. There were a total of 2,800 books published, yet only 183 copies were sold the following year, thus it was not reprinted. An original first edition is now “a bibliographical rarity”, says Westin and, these days, in Sweden’s rare bookshops, it will sell “for several thousand kronor.” Quite astonishing when one considers that it first retailed for a mere 41 Finnish marks.

From its war-shadowed beginnings to the more playful, philosophical tales that followed, it seems almost like a quietly murmured prologue. Unlike the later books, which positively bloom with colour, eccentricity and comicality, the prose is sparse and the tone sombre, tentative even, however, there are glimmers of humour apparent in its understated absurdity. For example, an armchair used to sail across floodwaters is a charmingly ridiculous image.

At its core, The Moomins and the Great Flood is a story of perseverance and kindness. The journey ultimately leads to Moominvalley, an idyllic haven that appears like a beacon of hope and comfort after enduring the storm.

“And suddenly the sun came out, and everything sparkled as if it had been newly washed.”

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My hardback copy of the book (purchased earlier this year from Blackwell’s) is an 80^th anniversary collectors’ edition featuring Tove’s original sepia-tint drawings, printed in full colour with cloth quarter binding. It was published in 2024 by Sort of Books and includes a foreword by children’s laureate Frank Cottrell-Boyce; an Author’s Note written in 1991; a selection of recently discovered notes by Tove about her Moomin characters and a cut-out-and-build Moominhouse designed by the artist herself in 1957. It was translated into the English by David McDuff in 2012.

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ABOUT THE AUTHOR

Tove Jansson was born in Helsinki on 9^th August 1914, the daughter of a Swedish-Finnish father who worked as a sculptor and a mother who was a graphic designer. She first trained as an artist and made a name for herself in her homeland as a painter and cartoonist. She became internationally famous after creating the Moomins. She later went on to create novels and short fiction for adults. She worked in her Helsinki studio, moving to a tiny island in the Gulf of Finland during the summer months with her partner, Tuulikki Pietilä. She died on 27^th June 2001 at the age of eighty-six.

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REFERENCE LIST

1. A war between the Soviet Union and Finland (also known as the Russo-Finnish War), which began on 30^th November 1939, three months after the outbreak of World War II.
2. Tove Jansson: Life, Art, Words, Boel Westin, Chapter 6: ‘Moomin Tales and Monumental Paintings’, page 166. Translated from Swedish by Silvester Mazzarella. Published 2014.
3. The Moomins and the Great Flood, ‘Foreword by Frank Cottrell Boyce’, page 6.
4. “She had wanted to write the war out of herself [but this] story wasn’t enough” and she went on to pen Comet in Moominland – the comet representing “the greatest of all our fears”. Life, Art, Words, Chapter 7: ‘The Time of the Apocalypse’, page 190.
5. The Moomins and the Great Flood, ‘Foreword by Frank Cottrell Boyce’, page 5.
6. Tove Jansson: Life, Art, Words, Chapter 6: ‘Moomin Tales and Monumental Paintings’, page 175.

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All images © Moomin Characters™

Categories: Fantasy Fiction, LGB, Tove Jansson, Translated Literature

Tags: #ToveTrove, Boel Westin, David McDuff, Finland, Finnish Fiction, Finnish Literature, Frank Cottrell Boyce, Moomin Books, Moominhouse, Moominmamma, Moomintroll, Moominvalley, Nordic Literature, Russo-Finnish War, Silvester Mazzarella, Sort of Books, Tove Trove