writers, focusing on sounds and image rather than a united logos and coherent semantics. Frostenson's poetry stands out in Swedish literary history for its radical linguistic experimentation through a blend of the archaic and the avant-garde; its focus on the intricate sonic qualities of the Swedish language; its references to classical mythology, folksongs, ballads, and canonical Western literary and philosophical figures; and its general lack of metaphor and descriptive language. Her work is orientated towards drawing attention to the material elements of language, that is, sounds, while also being attuned to, playing with, and deconstructing the semantic elements formed out of the phonetic building blocks in search of a purer, authentic or genuine kind of language. One could say that Frostenson attempts to eliminate all barriers which disrupt emotional and sensory communication. The experience of language's shortcomings is more authentic than its inability to communicate truth. Rather than relying on metaphors and complex attempts at reproducing in language the complexities of human experience, Frostenson's poetry instead gathers fragments of images, emotions, and sounds. Often, each image or feeling appears with an unexpected opposition, creating a dissonance of meaning. For Frostenson, the human senses are more faithful to experience and thus more trustworthy than language as a means of communication. Frostenson's oeuvre is one of the most influential in Swedish literature. Known first and foremost as a poet, she has published fourteen collections of poetry as well as several works of prose, drama, (creative) nonfiction, translations from French, as well as the libretto for Sven-David Sandström’s opera Staden (The City, 1998). In addition to being nominated for Sweden’s largest literary prize, the August Prize, three times (for Joner in 1991, for Tal och regn [Speech and Rain] in 2008, and for Tre vägar [Three Paths] in 2013), Frostenson has won nearly all the poetry prizes in Sweden and in 2016 was awarded the Nordic Council Literature Prize for her 2015 collection Sånger och formler (Songs and Formulae). She was made a knight of the French Legion of Honor in 2003. Her work has been translated into over ten languages, most notably to French and German (the latter, she has stated, is the language to which her work translates best). Joner (1991) Frostenson's most notable poetry collection is Joner (Ions) from 1991, which is considered her major breakthrough, a milestone in her authorship and a canonical, watershed moment in the Swedish poetic