Monday, July 22, 2024

Hvítur dagur

A White, White Day

A film by Hlynur Pálmason

The last time I saw Ingvar Sigurðsson was in person, in Vesturbæjarlaug, sharing water with him in one of the larger hot pots. With 91 acting credits on IMBD, Ingvar is arguably the preeminent Icelandic film actor. I’ve also seen him on stage; he is a commanding presence in any medium. In A White, White Day, Ingvar portrays Ingimunður, a police officer in a small town on the eastern coast of Iceland. He is old enough to have an eight-year-old granddaughter but still young enough to work. He is stoically grieving his wife, who died in a car accident. His family and friends (and a horrible psychologist) all try to help but, as the film develops, Ingmunður regresses from anger into rage as he learns more about the circumstances that led to his wife’s death.

This is a very stylized, fugue-like film; lots of static scenes are repeated with variations. Verry arty! It is also extremely sad, the slow-burn of its pacing might drive you crazy. Special note must be made of Ída Mekkín Hlynsdóttir as the granddaughter Salka. She is the female lead and is pitch-perfect as a child who must deal with a adult world twisted by events beyond her understanding.

Recommended, respecting the above-mentioned caveats.

By Professor Batty


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Wednesday, November 01, 2023

Iceland Airwaves Day 0

It officially starts tomorrow, but there were a few events today.

I spent yesterday noon at the pool where I struck up a conversation with two people, one was a thirty-something man I learned was Guðmundur Óskar Guðmundsson, the bassist for Hjaltalín! He was most surprised when I told him I had a copy of one of his limited release albums. My other pool-mate was a friend of his, a lively older woman who was 95 and proud of it (“I still drive!”) and we shared travel stories and commented on the weather (not a cloud in the sky again today!) Today was another beautiful day at the pool (45°F, sunny, no wind, long conversation with an Icelandic woman about Icelandic literature, music, and drama all the while soaking in a hotpot directly across from Ingvar Sigurðsson.) I reluctantly left her and the pool for it was time to officially start this thing. I made my way over to the Iceland Airwaves check-in and got my wrist band.

At 15:00 I saw the teen-age punk-rock band BKPM at 12 Tónar. Before their set one of their fans thought this small venue would be a good place to touch up her fingernail polish:
It gave the show a definite punk rock atmosphere, bringing back olfactory memories of teen-age huffing! BKPM started their engines with a song about “Cars and Autism”:
I returned to my flat to rest and recoup before I went out for dinner, (which is a story for another day.) I just missed Róshildur at Reykjavik Records, I liked her videos so I took a picture:
After that dinner I caught Cyber at a preview night concert at IÐNO:
They were as outrageous as ever, especially since the lead singer Salka had given birth three months prior (“When I jump up and down like this it makes me have to pee!”) The highlight of the night was their heartfelt cover of Britney Spears.

Between sets I talked a bit to KEXP’s Kevin Cole, who was there in a semi-official capacity. He said since they have stopped doing remotes he has actually had more time to listen to bands. Jae Tyler, a hard core rocker, then gave it his best shot, but I had to leave, it was after midnight by the time I got in, I needed to pace myself for the coming days.

By Professor Batty


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Thursday, October 08, 2015

Heimkoman at the Pjóðleikhúsið



Ingvar Eggert Sigurðsson… hilarious… on a scooter!

Need I say more? The Homecoming by Harold Pinter, is a strange two-act play which explores the dynamics of sexual power in an English family when Teddy, the eldest son, brings his 'wife' Ruth home from America to the seedy house where his father, an uncle, and two other brothers live. In the version I saw, in preview at the Icelandic National Theatre Thursday evening, the house had morphed into a service garage complete with operating plumbing. A sleazy psychodrama unfolds in this hyper-realistic yet surreal set. I could understand few of the words, but the emotional language of the actors was quite clear. Some full male nudity added to the mix. In a short conversation with the woman sitting next to me (who goes to ALL the plays), I mentioned some of the more memorable plays I had seen there and her appraisals matched mine.

Earlier in the day, at the pool, the Icelandic author Þórbergur Þórðarson came up in conversation. My companion mentioned another book by this author which I will have to pick it up when I return home. In the book the protagonist pines for a young girl who "still had a bit of God in her." When he returns from fishing, the girl had grown up and the main character becomes disillusioned with the result. As we were talking, in the shallow wading pool near us, there were numerous young children getting rudimentary swimming instruction. Their shrieks and cries were, to my ears, akin to birds singing.

"Those children still have that little bit of God in them, don't they?" said my companion.


By Professor Batty


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Monday, February 13, 2023

Castle House Tuesday Morning

Chapter 7 of Search For a Dancer, a serial memoir about a week I spent in Iceland. Mondays on Flippism is the Key
Ikea dominates the decor in The Castle House.

Universal, Scandi, neutral, Ikea’s greatest asset is that it doesn’t get in the way. Tables, chairs, kitchen utensils, bed and bath, its all there, the same as everywhere, Castle House is no exception. Even the little artistic touches in the room are inoffensive and forgettable. On the other side of the apartment door is Reykjavík in all its wind-swept glory, a mash-up of modernism, both early mid-century and post. Most of the buildings are less than than 100 years old; building booms in the 1920s, 40s, 50s and 60s shaped the inner city, while the outlying areas are more recent. It was Tuesday, my first morning in the Castle House. A breakfast of dismal English Weetabix and delightful European strawberries started my day.

I packed up my swim gear and left the apartment, walking between the National Museum and the church, then down to the path along the pond. I felt good, the air temp was in in the mid-thirties (3°c) and the sun was shining and the wind had yet to make its presence known. The mile-long walk to the pool was invigorating. Going past the cemetery, then alongside Grund, the senior residence (my room is ready) and then I turned off of Hringbraut and walked through the residential area, streets lined with pebble-dash and shell-dash stucco houses, mostly duplexes and four-plexes. They were old enough to be remodeled; construction activity was present in almost every block.
The Vesturbæjarlaug pool was a bee-hive of activity.

I did my laps, explored the various hot-pots, and finally settled in at the 40°c hot-pot. I saw Ingvar, the actor, make his rounds, and was soon joined by a man who recognized me from years previous. “You’re that guy with the Halldór Laxness website,” he said. I had recognized him immediately because he was a doppelgänger of one of my neighbors at home. We made some small talk, he asked why I was here. I mentioned the festival, and also said that I was going to meet up with some old blog-friends. “I’m having lunch with Silja A—, the writer at TMM, to talk about the new translation of Halldór Laxness’ Salka Valka. “Oh, you’re in good hands with Silja,” he said, smiling.

Everybody knows everybody here.

On the other side of the lap pool was a grass-covered earthen berm, it helped cut the wind and offered a bit of privacy. As I talked with my old ‘pal’ I noticed two men in swim suits lying on the side of the berm, feet up-head down. The air temp was warmer now, it had risen to 4°c (39°f) but it was still cooler than I would like when taking a nap in my Speedo. They must have stayed there for several minutes, I stopped watching after a while, when I looked up later they were gone. I looked at the clock and it was 1230 hours. My luncheon date was at 1400 hours, and on the other side of the city from the pool, about a half mile from my apartment. I said goodby to my tub-mate, and headed back to the apartment to prepare for the afternoon’s adventure.



Search for a Dancer Index…

By Professor Batty


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Monday, April 19, 2010

Reykjavík-Rotterdam

So the Minneapolis - Saint Paul Film Fest is finally here, and over the weekend I did manage to catch three films. One was French (35 Rhums), one was Chinese (Dixia De Tiankong- The Shaft), and one was Icelandic- the aforementioned Reykjavík-Rotterdam. The French and Chinese films were both slice-of-family-life dramas, very minimal action, and not a whole lot of character interaction either. They both had some redeeming qualities, but entertainment was not one of them.

Óskar Jónasson's film was, in contrast, a vivid and at times sordid crime drama. Co-written by the director and Arnaldur Indriðason, it is a "last caper" movie, with Baltasar Kormákur in the lead role as a reluctant bootlegger. An excellent cast includes many regulars from the Icelandic scene including Ingvar Sigurdsson, Ólafur Darri Ólafsson, and Jörundur Ragnarsson. Although it does feature some good local color, it is more of a Hollywood style movie. Indeed, it is being remade with Mark Wahlberg in the lead! Lots of hoods, creeps and lowlifes, with some disturbing beatings and bloody violence. Realistic footage on a freighter and a wild heist scene in Rotterdam filled out the well-plotted story. Not much of Icelandic culture, but as I said, it is a Hollywood style movie, and a successful entertainment.

By Professor Batty


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Friday, October 30, 2026

20+ Years of Icelandic Theatre

SPECIAL NOTE: I’m in Reykjavík RIGHT NOW and will be giving updates on new performances including Nýtt eldhús eftir máli (tonight) and Ormstunga (tomorrow afternoon.)
Þjóðleikhúsið (National Theatre)

Over the last two decades a recurring topic of FITK has been Icelandic Theatre. Is it ironically appropriate in that the National Theatre building is the same age as me?
Borgarleihusið (City Theatre)

Like many aspects of Icelandic Culture, the dramatic arts have had an outsized influence in the world. Not the stage productions themselves (although the 2006 production of Pétur Gautur did play in London) but through Icelandic and world cinema and television productions. Notable actors (Ólafur Darri and Ingvar Eggert Sigurðsson, Anita Briem) and stage director Baltazar Kormákur have been part of big-budget films. Film composers Jóhann Jóhannsson and Hildur Guðnadóttir (who both started out in Icelandic theatre) have won numerous awards including: Golden Globes, Baftras, Emmys and even an Oscar. The first woman elected president in the world, Vigdís Finnbogadóttir, was the director of the city theatre when she was elected.

I’ll list the productions I have seen in chronological order.

Þetta er allt að koma by Hallgrímur Helgason, d. Baltazar Kormákur, 2004, Þjóðleikhúsið, Main stage:
My Icelandic theatre crawling started with a bang with this wild satire of a talent-challenged performer who always believes that “Things are going great” as her life falls apart in various picturesque ways. The most inventive set I’ve ever seen in a stage play, much of it is set in a huge furry box with a multi-section floor continuously sliding back and forth. I did manage to speak with the playwright (via Zoom) twenty years later. Alas, there were no new plays from Hallgrímur on the horizon. The next production I saw was also directed by Baltazar and was, in some ways, even wilder.



Pétur Gautur (Peer Gynt) by Henrik Ibsen, 2004, Þjóðleikhúsið, Black Box stage:
One of Ibsen’s most intense plays, and it was doubly so in the intimate confines of the small ‘black box’ theatre on Lindargata. My companion and I were almost within touching distance of the actors! The fish cleaning scene (with real fish) was memorable, and they eliminated the ‘second wall’ when the fire escape double door in the back of the stage was opened and the action went outdoors - with people on the street walking by in the background! The play ended with the stage floor covered in blood, money, and ashes as the lights went out.



Frida, vida la vida… written, directed and starring Brynhildur Guðónsdóttir, 2009, Þjóðleikhúsið, Main stage:
This was a very stylized production, with Frida Kahlo’s paintings becoming a part of the set. Figures from them, most notably Óxlotl, her dog (and also the Aztec dog of the underworld), and La Catrina, the Mexican goddess of death, came alive on stage. Frida’s life, including her disfiguring accident and her stormy relationship with Diego Rivera, was told in a grim, nightmarish fashion that became frightening at times. Ólafur Darri Ólafsson was Rivera with a commensurate stature appropriately larger than life. Frida’s politics were also covered, even Leon Trotsky made a memorable appearance. That a regional Icelandic theatre would produce an original play about Frida shows what an influence her art and life has had worldwide. The Selma Hayek movie version was visually stronger, as would be expected from a Hollywood movie, but this production brought out the internal struggles of Frida in a more compelling way. The cognitive dissonance in this production was pretty high, which added to the play’s surreal quality.



Jónsmessunótt, by Hávar Sigurjónsson, 2012, Þjóðleikhúsið, Black box stage:
Kristbjörg Kjeld and Arnar Jónsson are the parents of an unruly clan meeting for a reunion on midsummer’s day. The father, who has numerous affairs over the years, is deluded in thinking that his family respects him but in reality they all know he is a philandering fraud. The set featured clever intersecting boardwalks used in numerous ways:
As the audience filed in the actors mimed as if they were a continuous loop in a DVD menu.



Rautt (Red), by John Logan, Borgarleihusið 2012, small stage:
THE Icelandic drama reviewer Silja Aðalsteinsdóttir personally recommended this play to me. Although the play was quite wordy, the context (late fifties New York art scene) and numerous instances of name-dropping in the script helped me follow the gist of the story. Mark Rothko (Jóhann Sigurðarson) and his fictional assistant (Hilmar Gudjonsson) have heated conversations about the meaning of modern art vs. pop culture:
The play’s major conceit is the real-time creation of Rothko’s art on 2x2 meter canvases. As Silja had mentioned to me earlier, Jóhann was exceptional as Rothko.



Heimkoman by Harold Pinter, 2015, Þjóðleikhúsið, Main stage:
The Homecoming is a strange two-act play which explores the dynamics of sexual power in an English family.  Teddy, the eldest son, brings his “wife” Ruth home from America to the seedy house where his father, an uncle, and two other brothers live. In the version I saw, in preview, the stage had morphed into a service garage complete with operating plumbing. This sleazy psychodrama unfolded in this hyper-realistic yet surreal set. I could understand few of the words, but the emotional language of the actors was quite clear, as was the full male nudity added to the mix. In a short conversation with the woman sitting next to me (who goes to ALL the plays), I mentioned some of the more memorable plays I had seen there and her appraisals more or less matched mine. In this play, she was put off by Pinter’s 1960s sensibilities.



The Rocky Horror Show By Richard O’Brien, Borgarleihusið 2018, Main stage (lobby shown below):
This was a blockbuster hit in Iceland, with its first run selling out almost instantly. Iceland music legend Páll Óskar reprised his role as Frank-N-Furter which he had performed as a college student twenty-eight year earlier. A true extravaganza, with an intricate set design and first-rate singing actors in all the major roles. My companion and I had never seen the play (nor the film) and were blown away by the excess of it all. Special note must be made of Minnesota’s own Surfin’ Bird by the Trashmen being played during intermission—twice! Rather than have me blather on about the production anymore, here is a video of the Páll’s opening number, you can judge for yourself:





Vertu Ulfur (Be a Wolf) directed by Unni Ösp Stefánsdóttir, 2022, Þjóðleikhúsið, Main stage:
I can’t even begin to explain it, much less justify it. The one-man stage play is based on Héðin Unnsteinsson's autobiographical narrative of the same name. It was described as a crazy journey through the “… dangerous places of the mind into a world of anarchy and despair and back again, the struggle of a man who manages to break out of the vicious cycle and manages to turn his most terrifying experience into the strength needed to change.”

This production really pushed me out of my comfort zone with its 100+ minutes of Björn Thors’ nearly nonstop monologues in Icelandic, imaginative stagecraft and his masterful emoting. I was enthralled throughout.

Why would anyone go to see a play in a foreign country, performed in an incomprehensible language? I’ve done stranger things, but not many.  This production had been a rousing success, with over 100 performances seen by tens of thousands of people, including many middle-school students who were there in abundance that night:
Between trigger warnings and censorship, I can’t see that a performance as intense as this one would be allowed to have an audience of older children and young teens in the U.S.A.

The play opened with a closed curtain. A man in a suit (actor Björn Thors) stepped out in front of it with a pocket full of sand. He used the sand and a piece of chalk to draw a circular diagram of his family and its history. Out of this simple introduction came the story of his struggle with manic-depression, two hours of intense acting that enthralled me with its vivid portrayal of a man struggling with his inner demons. His body language became a sublime dance, choreography of the human spirit. The stagecraft was just as brilliant—the minimal sets were transformed again and again with its archetypal imagery: A rain shower! A forty-foot-long duvet! A vanishing road to nowhere!  Evocative lighting made it visual magic.

An aside: A typical tourist, unless they happened to walk into the theatre’s box office out of curiosity about the theatre’s imposing facade, would be unaware of the miracles this venue performs on a regular basis.  And if that wasn’t enough culture for one town, the city boasts of another live theatre complex of equal stature, plus several smaller companies.

Before this play started I was sitting on a bench in the outer lobby when woman came in and sat down next to me. We started talking about Icelandic theatre, she was a regular and I mentioned Hallgrímur Helgason’s Þetta er allt að koma. She had known Hallgrímur since he was three years old! She also mentioned what a great man he was—the second time I heard someone say that about him that day!

When the woman for whom my bench-mate was waiting came in she saw us sitting side by side she said to us: “Ah! Brúðkaupsbekkurinn!”

Here is the play, in its entirety, with an additional prologue:





Sjö ævintýri um skömm (Seven Fairy Tales of Shame) a play by Tyrfing Tyrfingsson, 2022, Þjóðleikhúsið, Main stage:
One recurring aim of my trips to Reykjavík is to experience experimental and off-beat Icelandic Theatre.

This production hit the target in the bulls-eye.
This play had been expanded from an earlier one-act which had been a hit in a festival setting.
Several of Iceland’s most celebrated stage and screen actors were in it, including the lead Ilmur Kristjánsdóttir (seen in the TV series Trapped!) as Ölga, Ólafía Hrönn Jónsdóttir (White Night Wedding) as Ölga’s mother Amma, the venerable Kristbjörg Kjeld as her grandmother Fanney, and Hilmir Snær (101 Reykjavík) playing against his usual leading-man-type, as an alcoholic psychiatrist who takes on a troubled client: Öğla.
The psychiatrist abhors cognitive behavioral therapy, and believes that the cure for Ögla's distress lies in finding its roots—which is shame. We follow the two of them throughout the play as she tells the doctor about seven adventures that are crucial to her dilemma, and were caused by the people who were closest to her.
The key dynamic of the work is the uneasy relationships between Ölga and her grandmother and her mother—it shows us how ‘wounds’ are inherited between generations. Playwright Tyrfing used a lot of his childhood memories for the set pieces with the grandmother. Ólafína and Kristbjörg tear into their roles with gusto, it was really a special pairing:
In Ilmar’s performance as Ögla she draws the audience in, as her character falls apart as the play progresses. She is not easy to love—on edge and confrontational, Olga is married to Hanna (Kristín Þora Haroldsdóttir), the two women have the most outrageous artificial insemination scene-gone-wrong I had ever seen:
A crucial scene of the play revolves around the relationship between Ögla and Hanna, about the paradox of the fantasy of love with love in everyday life.
Seven Fairy Tales of Shame celebrates the magic of the theater, queerness and everything that is strange, oblique and excessive in life. This was not your standard dinner theatre fare:





Sem Á Himni, 2022, Þjóðleikhúsið, Main stage:
This musical originally was a Swedish stage production and then a film. It is the story of a conductor who has a heart attack (at the podium!) and then returns to his home town to recover. There he helps out with a struggling choir and in the process everyone grows, learns, and is fulfilled. It was written as a crowd-pleaser with character stereotypes aplenty. The drama is supplied by themes of spousal abuse and small-town politics presented in almost in a check-list fashion:



Overall I found it to be well sung, but with stilted staging, especially compared to the two previous plays I had seen. I had heard from more than one person that the casting of the play was controversial in that one of the characters was a special needs man who was portrayed on stage by a ‘norm’, with no other actors even considered for the role. I could see both sides of the argument; his part was pivotal and needed an accomplished singer and actor to fill it or, conversely, they could have reached out for someone with that background. I imagine there was someone in the tight-knit Icelandic theatre community that should have been given a chance—otherwise there might not have been such a fuss. I had read in a review that the big production number (at the end of the first act) was so good that the remainder of the play suffered in comparison. If that was the play’s high point (and it was impressive) I didn’t want to see any more. I left at the intermission.



Look at the Music! 2023, Tjarnarbíó theatre:

I had never been in Tjarnarbíó before, it was an old cinema restored, seating about 250, a little gem of a venue:
A powerful set of choral music set to complement Sign Language, Look at the Music! was part of a year-long international project involving both hearing and deaf artists with poetry in Icelandic Sign Language (ITM). The 45 minute show was excellent; the music complemented the signing perfectly. There was even a “sing-along/sign-along” at the end. And there were balloons (Yay!) Beforehand I hob-nobbed with the cultural elite over a bottle of Apelsin, a uniquely Icelandic orangey beverage that I have every time I’m here. It’s awful (shown on the table in the foreground) but I’m weak—I need it.


Ibuð 10B, written by Olaf Olafsson and directed by Baltazar Kormákur, 2025, Þjóðleikhúsið, Main Stage. The set was static, with minimal changes in the background and lighting:
This was a talky play, set in a modern apartment (Ibuð) where a group of residents gathered to forge a covenant for potential incoming refugees who might be living in their building. What started out as an exchange of pleasantries (and wine tasting) turns sour as everyone gets more drunk. When a mixed-race resident comes in with his spouse unacknowledged feelings of bigotry simmer and boil over. I’ll let an Icelandic reviewer give a deeper explanation:
There are big issues here and some are very hot, and Ólafur Jóhann skillfully weaves them together so that from the first quiet minutes, the tension in the living room grows more and more, the characters reveal themselves better and better until we have a clear understanding of how they are put together, where they come from and where they are going. The conversations are fast-paced and often very funny, you have to keep your eyes peeled when it is at its most intense. This is a dense and substantial text, brilliantly thought out and written. ~ Silja Aðalsteinsdóttir, TMM Forlagið
The near-capacity audience gave the cast multiple ovations at the end.

On an unrelated note: I did snap this pic of the old retired lighting board at rest in the upper lobby of the theatre:




Kjallarakabarett, Kjallarinn, 2022, 2025:
What better place to celebrate Halloween than in the ‘cellar’ of the National Theatre. A most welcoming and congenial atmosphere of Pulchritude and Perversion greeted this timid visitor who otherwise wouldn't dream of attending such a spectacle. The MC greeted us with the invitation/admonition “You can take photographs but no flash, please. We’ll do the flashing!” A series of bawdy skits followed and were interspersed with singing and some very titillating amusing stripteases.



40.000 Fet, Tjarnarbíó 2025:

It is always nice to see so many young people at the theatre:
In the lobby a man greeted me thinking I was someone he knew from 30 years ago. I was sorry to have disappointed him, he seemed like a nice guy.

The play was the stylized comedy about two female flight attendants and their flight crew. It was quite bawdy at times, with a serious ending addressing mortality. A nice twist was that when you entered the theatre space the actors portraying the flight attendants greeted you in character, as if you were the passengers:


Dead Air by Álfrún Rose (in English): Tjarnarbíó, 2025
Since Alfie’s dad died, he’s visited everyone’s dreams but hers.
Rude.
Desperate to talk to him, she uses AiR, an AI chatbot for the dead. A heartfelt, funny, and glitchy deep dive into grief, ghosts, and digital obsession.
~ from the Airwaves guide
A good premise, somewhat defeated by an unintelligible voice-shifting device that Álfrún used when she was ‘streaming’ her dead father.

The hour+ performance became a litany of dysfunctional family tropes, even more disturbing because I suspect they were all true. I find it ironic that the only real dud I saw in 21 years of Icelandic theatre was in English!

Performance images by the respective theatre groups.

By Professor Batty


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Friday, May 01, 2026

20 years of Reykjavík Pool Culture

Original image: Art Bicnick, Reykjavík Grapevine

Discovering and being part of the pool culture in Iceland has been one of the great joys of my life. Here are some impressions from various times I’ve enjoyed it over the last twenty-one years: 

                                                      ~ 2004 ~

Some vacation trips are family affairs, others are romantic getaways for two. Then there is the third type, the solo excursion. Traveling by oneself has some unique advantages. You only have to please yourself. You can set the pace, either fast or slow, according to your mood or disposition.

So you can imagine my slight consternation when, during my carefully planned solo trip to Iceland last spring, I was “befriended” by a somewhat clueless and flabby college counselor who was the tour leader for a group of teachers-in-training from a state school in Michigan. He had done no homework about this trip, none about Iceland in general, and none about Reykjavík in particular. My schedule was complete, I had about twenty hours of things to do each day. I was not a slave to that schedule but I didn’t have any time to babysit.

Nevertheless, I mentioned to this chaperone that I was going to Laugardalslaug, and he was welcome to come along. “Do you have a car? How far is it?” Well no, I didn’t have a car and it was about 1.5 km to the pool from our guest-house on Bólstaðharlið—not a really long walk but far enough to tax the feeble. In other words, my accidental companion. We did make it there, he was complaining all the way and we had to stop a few times to rest. We showered and changed into our swimsuits; he felt the need to wear a shirt into the pool. I did my laps, then soaked a bit to get the travel kinks out. I think my ‘pal’ spent the whole time wondering what he had gotten himself into.

Finally, it was time to go (the pool was closing), and we headed back. He had to stop at the American Style restaurant, where we drank Cokes while he complained about his time in Iceland. Some date. When we got back to the guesthouse, he went straight to bed but I stayed up and talked with some of his charges, the students who were far more in tune with the idea of Icelandic exploration. Over the course of the evening, one of the students was complaining about being stuck with such a dud. I thought about this for a while and then said: “Yeah, but I had to see him naked!” 

I returned to Laugardalslaug later in the week, this time I made the mistake of mentioning the film of Hallgrímur Helgasson’s 101 Reykjavík to a fellow ‘hot potter’. He had not been amused by it and let me know it. Evidently I still had a lot to learn about pool culture.

                                                      ~ 2006 ~

“The water has memory, you see, the water has memory.”


When a man who has spent his life on the ocean speaks poetically of water, I will give him due consideration.

I was sitting in a hot pot at the Vesturbæjarlaug pool, sharing water with a retired trawler captain, a Spaniard, and an elderly woman, the conversation was as warm as we were. It was another unseasonably fine October day in Reykjavík and I was taking a final visit to the neighborhood pool. The conversation swirled like the water in which we soaked; moving between politics, economics, wool, music and water. Always water, this rock in the North Atlantic, surrounded by water and the fish in it which generated wealth, the heat from the geothermal water making living comfortable here, and the electricity generated from the hydroelectric plants making modern life practical. I mentioned Halldór Laxness and his novel Kristnihald undir Jökli, wherein the "fallen" pastor Jón Primus declared his only theory: “… water is good… one doesn’t even have to go by my theory unless one is thirsty.” Everybody laughed. Water is good, especially when one is in it with congenial company. When I had finally become thoroughly cooked I reluctantly left.

BEST MUSIC OF THE DAY: The speech of an Icelandic coquette in hot-pot 3 at the Vesturbaejarlaug thermal pool (13:00). She was in an animated discussion (about working hours I believe), but I could appreciate were the beautiful cadences and inflections of her voice. Did I mention how much I enjoy being here?

                                                      ~ 2009 ~
I haven't had any deep conversations in the “hot pots” this trip as yet, but there have been moments, like the one Sunday with a mother and father and their ten year-old daughter. The daughter was resting her head on her father's massive chest, talking to him quietly and sweetly. She then started to croon a plaintive children’s song- a very touching and tender scene.

Monday: I was in a pot with three older people when some young men from from the U.S. came in and started taking computer repair. Talk about a mood killer! They left soon enough; the ensuing quiet was most welcome.

Tuesday: I was in the same pot. The sun was shining so you could bask in it while the hot water swirled all about you. Then a trio of young bikini-clad teen-age girls came in. From the sound of their conversation I surmised that they were Swedish. One had a waterproof camera (normally forbidden in the pool—but who’s going object to some girls snapping pictures of each other?) and I used that camera to take a picture of all three them together. The sounds of their voices were like singing as well.

Grace is real.

Wednesday: OK, I'm back from the pool, were I spent time listening to an old fisherman punctuate his monologues with Icelandic poetry. He evidently was well known to the regulars who, like me, enjoyed his performance.

                                                      ~ 2012 ~

Monday: At Vesturbæjarlaug the air temp was 4°c, a balmy 39°f but the sun had retreated behind leaden clouds, giving a somber look to the surroundings. There were only about a half-dozen other bathers in the pools; I had never seen them so empty. I did my laps then went into the medium hot pot, alone. The cricks and aches from my flight quickly were forgotten.

Tuesday: This afternoon I spent close to three hours there: enjoying the sun, the 38-40° C. (100-104° F) warm water as well as interacting with an interesting mix of people from various backgrounds. The conversation was lively, the first half-hour was dominated by an older gentleman whose non-stop banter kept the pool laughing. It was all Icelandic, I could understand the laughter and when he referenced numerous vacation sites (Costa del Sol, Sardinia, Crete, San Francisco) but otherwise I could understand little. When he left a woman took up the slack for another half-hour, also in Icelandic. The crowd turned over, and several of the new arrivals started talking to me (in English) about a wide variety of subjects: the destruction of the Reykjavík city center, Vikings in the new world, Snorri Sturluson, the Kensington Rune Stone (they brought it up!), Shakespeare’s visit to Iceland (?!), the spread of Icelandic pop culture, and music education in Iceland (one of the men in the pool had been a music teacher of the Ákadóttir Twins!!)

Eventually the crowd thinned out but two men (a nephew and uncle) remained and our talk turned to Halldór Laxness. We talked about the problems of translation, various books, and the subtle ironies in Laxness' writing. Then it was only the nephew who remained, he spoke to me about his life in Denmark, how he wanted to return to Iceland permanently, and about the water. “God made the cold water, and the Devil made the hot water, and the mixing of them is what makes Iceland such a special place.” He also introduced me to the pleasure/torture of the 'cold pot'—with water in the 8-10° C. range (45-50° F.) and the importance of drinking lots of water when in the hot pots.

On Wednesday I spent some time on the Seltjarnarnes peninsula, and went to the salt-water pool there. My swimming pass wouldn’t work, the attendant laughed and said “That's for the city pools, you're in the country now!” The pool and the changing room were very nice indeed, one might call it ritzy, although I’m not big on the way salt water feels on my skin. I had a conversation with a couple of teen-aged boys about music, they were into “Pink Floyd and Led Zep.” Upon learning that I was from Minnesota, an elderly woman mentioned going to the University there in the 1950s, learning nutrition. I asked her about Ancel Keys, but she didn’t remember him.

Friday found me back at Vesturbæjarlaug, in the hot-pot with Ufuoma, a vivacious woman from Nigeria (via the UK.) She had married an Icelander and had embraced the country fully—including hugging several of the pool patrons that knew her. There was a morning exercise group that morning that we joined; she was in a lot better shape than I was. Her performance suggested that she was an experienced dancer. Our conversation showed that she was highly educated (I later found out that she has translated Chaucer into Icelandic for a stage play.) Her name meant ‘peace of mind’, and she lived up to the moniker. The hot tub conversation we were having was interrupted when we were joined by Vigtýr, ‘The Banjo Player,’ as she called him. He was in his mid 30s, tall and handsome, with long blonde hair—a regular Viking. Ufuoma, who had been out of the country for the last few weeks, had to catch up on things and asked him how he had been doing lately. His answer was quick in coming and surprised me with its bluntness: “I’ve been feeling kind of… I guess you could say I've been lonely…” Ufuoma, expressing genuine concern, started asking questions. Vigtýr said he had always been self-reliant, but lately it had started to catch up with him. Ufuoma knew that he had some health issues as well, including surgery to relieve nerve damage in one leg, a condition which caused him to have phantom pain in his foot. Ufuoma nonchalantly picked up his leg and began to massage the offending foot. “I know someone in London, he can help you, no surgery, you should go see him,” she said. She then lifted her leg above the swirling water and showed us the scars on her leg. She had gotten them from the exhaust of a motor scooter. They were interesting, two almost perfectly round spots. Had her healer friend helper her recover? Or did she just want to show us her leg? I didn’t have any interesting stories to offer about either of my legs. The instant rapport we shared (based mostly on Ufuoma’s extremely engaging personality), was like a meeting between old friends. It would be hard to image in any other circumstance, but the leveling nature of the hot-pot made it seem natural. It was with great deal of reluctance that I finally took my leave to catch my flight back home.

                                                      ~ 2015 ~
Monday: The pool was, as it usually is, sublime. It was sunny, with a light breeze, 8°C. air temp (about 46°F.) There are two new GIANT 'hot-pots', better for extended lounging, but not as intimate as the old ones (which are still there.) Got into an extended conversation with a woman of 'indeterminate' age, the first topic always seems to be “Why Iceland?”

Tuesday: Earlier in the day, at the pool, the Icelandic author Þórbergur Þórðarson came up in conversation. My companion mentioned another book by this author which I will have to pick it up when I return home. In the book the protagonist pines for a young girl who “… still had a bit of God in her.” When he returns from fishing, the girl had grown up and the main character becomes disillusioned with the result. As we were talking, in the shallow wading pool near us, there were numerous young children getting rudimentary swimming instruction. Their shrieks and cries were, to my ears, akin to birds singing.

“Those children still have that little bit of God in them, don't they?” said my companion.

After this trip I received an email from Dan Kois, the author and New York Tomes writer. He wanted to know more about Icelandic pool culture and I helped him out.

                                                      ~ 2018 ~

Back again in Vesturbæjar, this time with The Weaver in tow. We came straight from the airport, going to a nearby bakery/coffeeshop for some breakfast then getting into the pool about 10:00. The hot-pots there were a perfect cure for jet-lag. Suitably refreshed, we left the pool and dressed and then were off to Ólafoss and Gljúfrasteinn, returning to our apartment mid-afternoon. We returned to the pool a couple of times during our trip, once getting into a discussion about Independent People, the famous novel by Halldór Laxness. The local in our shared hot pot was enthusiastic: “I read it in Icelandic and in English, side by side—it was a perfect translation.” The Weaver, initially skeptical about going to the pool, warmed up to the idea after a few trips.

                                                      ~ 2022 ~

I woke up Wednesday morning completely refreshed. Any lingering traces of jet-lag were gone and by now my morning routine had been established: coffee, cereal with fruit and milk, checking email and the weather, then heading out to the pool for some laps and socializing. It was a bit colder that particular morning, the temps were just below freezing and there was a thin film of ice on the pond across the street from my digs. It almost made me wish I had brought a warmer jacket. The paving stone sidewalks were a bit slippery but I made it to Vesturbæjarlaug without managing to break my neck. At the pool I did manage a few laps and then I just indulged myself in trying out each of the different soaking pools before returning to my usual 38-40°c hot-pot.

I spent Wednesday afternoon noon at the pool where I struck up a conversation with two people, one was a thirty-something man that I learned was Guðmundur Óskar Guðmundsson, the bassist for Hjaltalín! He was most surprised when I told him I had a copy of one of his limited release albums. My other pool-mate was a friend of his, a lively older woman who was 95 and proud of it (“I still drive!”) and we shared travel stories and commented on the weather (not a cloud in the sky again today!)
Thursday was another beautiful day at the pool (45°F, sunny, no wind). Had a long conversation with an Icelandic woman about Icelandic literature, music, film and drama all the while soaking in a hotpot directly across from the noted actor Ingvar Sigurðsson. I reluctantly left her and the pool for it was time to officially start Airwaves. I made my way over to the Iceland Airwaves check-in and got my wrist band.
                                                      ~ 2023 ~

The Vesturbæjarlaug pool was a bee-hive of activity. I did my laps, explored the various hot-pots, and finally settled in at the 38°c hot-pot. I saw Ingvar again, as he was making his rounds of the pool. I was soon joined by a man who recognized me from years previous. “You’re that guy with the Halldór Laxness website,” he said. I had recognized him immediately because he was a doppelgänger of one of my neighbors at home. We made some small talk, he asked why I was here. I mentioned the festival, and also said that I was going to meet up with some old blog-friends. “I’m having lunch with Silja A—, the writer at TMM, to talk about the new translation of Halldór Laxness’ Salka Valka. “Oh, you’re in good hands with Silja,” he said, smiling.

Everybody knows everybody here.

On the other side of the lap pool was a grass-covered earthen berm, it helps to cut the wind and offers a bit of privacy. As I talked with my old ‘pal’ I noticed two men in swim suits lying on the side of the berm, feet up-head down. The air temp was warmer now, it had risen to 4°c (39°f) but it was still cooler than I would like when taking a nap in my Speedo. They must have stayed there for several minutes, I stopped watching after a while, when I looked up later they were gone. I looked at the clock and it was 1230 hours. My luncheon date was at 1400 hours, and on the other side of the city from the pool, about a half mile from my apartment. I said goodby to my tub-mate, and headed back to the apartment to prepare for the afternoon’s adventure.

The next day I spent a long time in conversation with Lárus Halldór Grimsson, an Icelandic music veteran who had been in the prog-rock band Eik in the seventies. He was full of stories: hanging out with David Bowie, writing music for plays, and he had even portrayed a young Halldór Laxness in a television production! Lárus seemed to know everybody in Iceland, and was full of arcane references, but I think I surprised him when he mentioned Baggalútur. I said that I not only knew of them that I had seen them perform and I even had one of their CDs. I spoke of the Ákadóttir Twins who comprised Pascal Pinon and he knew their father well. We also talked about the late, great Jóhann Jóhannsson whom he knew back in Jóhann’s days in the punk-rock group Ham, which brought out me telling them about seeing them perform the previous night. From Ham and Jóhann it was only a slight turn in the conversation to Hildur Guðnadóttir, the Academy Award-winning composer. He had given her a stuffed Pink Panther doll when she was a small child!

Speaking of children, a young man with a boy came into our pot, the man explained that the boy was autistic, and liked to take water-bottles! I moved my $8 medical-grade water bottle away as the scamp cavorted around the pool as we talked. The man wasn’t his father, he was just a friend of the family (and not even an Icelander!) and had some free time so he took the boy to the pool to give his parents a little respite. No big deal here, it takes a village to raise a child. I managed to give the boy a side-eye wink that he caught and answered with a shy smile. After the pool, I sauntered back to the apartment. It was a bittersweet trip; by this time tomorrow I would be in the Keflavík airport, waiting to return home.

It’s good to live in the moment when on vacation.

No what-might-have-beens, no second guessing your itinerary, no comparing this trip to another one. The weather, while still warm by November standards, had turned a bit windy, so I spent most of the afternoon in the hotpots at Vesturbæjarlaug swimming complex. There were a lot of people there with Airwaves armbands, and even a couple of performers. Lolling in the shallow oval hot-pot, laying back with my head on its rim, gazing at the wispy clouds floating high above me allows my brain to stop, being one with them, a moment I will long remember.

Vesturbæjarlaug, an open-air swimming pool, is my personal favorite. Its proximity to the university insures that the pool’s population always consists of a mix of backgrounds: a fair amount of academics, actors, students, tourists and the usual neighborhood old-timers. Geezers like me (67+) get in free, without a doubt the best tourist deal in the whole country. When I walked in and went to the reception desk the clerk asked “Is this your first time here?” when she heard my accent. The first time this trip, yes, but it is just one of dozens—many fond hours I’ve spent here in the hot-pots, absorbing heat and culture in equal measures. I even do laps— and my partaking in actual physical exercise is a rarity. The clerk handed me my ticket and, after scanning it at the gate, I went down into the locker room. I stripped naked and headed for the showers to wash with soap (special emphasis on cleaning the germy bits) and then donned my Speedo to head out to the pool complex. Four double lanes in the 25 meter lap pool, a large shallow pool with slides for children, and six soaking pools of varying temperatures and sizes. The chlorine level in the water is mercifully low which allows one to stay for hours and any traces are dissipated by the fresh sub-arctic air (bring a water container to avoid dehydration!) If you need even more heat there is also a steam bath and a sauna. In the hot pot at Vesturbæjarlaug the topic of Halloween in Iceland came up. “Not my cup of tea,” said a woman sitting next to me with a temporary tattoo of a flaming skull on the back of her hand, “The old Icelandic holidays are disappearing,” a man said, ruefully. He recognized me from a visit ten years ago! I commented that I had been in Iceland once before on Halloween and it was nothing then.

                                                      ~ 2025 ~

Monday: I met Ingimar in one of the hotpots where he told me interesting stories about his exploits in NATO. And of course he knew my old blog pal Kristín. By the time I was thoroughly cooked Ingimar had started to repeat his stories. The pool was crowded, with lots of families and kids. I talked with a couple of men: one a native, the other an ex-pat DJ from Brooklyn. Theatre, literature and even AI music generation were some of the topics of our conversation. I mentioned that I listen to my own AI augmented songs as a playlist, he did the same too.

Tuesday: Woke up early, at 06:00 it was still night. After breakfast I made my way to the pool and took my first lap under the stars. Dawn broke slowly and by the time I left the hotpot it was morning. In the shower I noticed a man who looked like Langi Seli across from me. I asked if he was who I thought he was, and he was (I almost didn’t recognize him without his Gretsch.) I told him of the times I had seen him play, and mentioned the video I made in 2006(!) of him and his band, Skuggarnir. We continued our conversation as we got dressed—our lockers just happened to be adjoining—about Airwaves, Minnesota music and what we were currently doing. When I left, Langi was at the mirror, making sure his pompadour was looking good (it was)

Wednesday: When I was at the pool when one of a group of six ‘mature’ women smiled at me when she saw me entering the hot pot: “We were just talking about you—you are the one who goes to see plays in Icelandic when you can’t speak the language!” Talk about being felt welcome! We talked a bit about Icelandic drama and culture, including Halldór Laxness, of course. One of the women was close friends with Halldór’s daughter Guðny who has an AirBnb near Gljúfrasteinn, Laxness’s estate. Later, I sat with a gang of six Danish festival-goers (you can tell who they are by the wristbands) and we compared notes. They come almost every year for the last 12 or so years. We were going to see some of the same acts tonight.

Thursday: I was sitting in a hot-pot talking with Anna Róshildur and she mentioned the very restrictive audition process for a local act to get into Airwaves off-venue schedule, to say nothing about the regular venues. Troy (from Texas) introduced himself and when he found out that I was from Minnesota mentioned that he was a Vikings fan, I looked for the incision when his broken heart had been mended. He laughed.

Friday: Was talking with a woman from Finland whom I had seen the day before, in the exact same spot in the large hot-pot. She was here for the Airwaves festival too so we compared notes (Ms Obama!) Troy showed up and when I told him of meeting a English couple the night before he said “Barry and Tina! They come every year!“

Saturday: A daytime moon was shining over Vesturbæjarlaug:
Had some lively conversations in the pool’s biggest hotpot with some fellow Iceland Airwaves attendees, a German and a Finnish woman were also very sociable. After a while Troy from Texas left (to do laps) and the talk turned from music to horses, so I made my exit as well.

And when will I return? I’ve got a pool pass that is good until October…

By Professor Batty


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