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The article is a literary analysis of the poem “Solaris Corrected„ by the Norwegian poet Øyvind Rimbereid. The work is a poetical science fiction where the oil industry in the North Sea is seen from a retrospective point of view, conveyed in a future language. As a part of the modernist tradition in Scandinavian literature, Rimbereid’s work can be read as a significant renewal of the poetic heritage from among others Rolf Jacobsen and Harry Martinson.

This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater.