NEW YORK, NY.- Two days after Christmas, Ann-Hel閚 Laestadius found herself being gently pummeled by reindeer.

Taking advantage of the bluish glow that passes for daylight in Sweden’s far north at that time of year, she had left her parents’ cozy kitchen and driven to the corral where her cousin keeps his herd during winter. She was there for a photo shoot, but first, she had to help feed the animals, extracting half-frozen tufts of lichen from a mesh sack as the reindeer jostled her impatiently. Even after a close brush with the pointy end of an antler, she looked on them indulgently.

“For the S醡i,” Laestadius said, referring to the Indigenous group of which she is a member, “reindeer are not just animals. They are life.”

That lesson is at the heart of her novel, “Stolen,” which comes out in English from Scribner on Tuesday. It explains why the book’s S醡i characters perceive the killing of their reindeer as a crime not against their property, but against their people as a whole. And thanks to the book’s success, it is also a lesson that Sweden, whose colonization of the S醡i has been long and oppressive, may slowly be learning.

An Indigenous people, the S醡i, who number around 80,000, inhabit a vast territory that stretches across the Arctic areas of Norway, Sweden, Finland and Russia’s Kola Peninsula. For centuries, their language and culture have been forcibly suppressed by national governments that also stripped their land rights and developed industries that threatened the habitats on which their livelihoods and culture depend.

To this day, the S醡i are engaged in legal and political struggles to protect their lands from mineral and timber extraction, and their herding routes from energy projects. And although the Nordic countries are widely perceived, both abroad and at home, as progressive and egalitarian, many of the S醡i who live within their borders say they remain targets of discrimination, racism and — through their reindeer — violence.

A case in point: After the Swedish Supreme Court in 2020 granted the S醡i the exclusive right to manage hunting and fishing rights in the area of Girjas Samby, near the Norwegian border, reindeer killings (which had long plagued the community) increased markedly. It was an expression, many S醡i believe, of anger among local Swedes who resented losing their hunting rights to a people they had long denigrated. “They kill our reindeer,” Laestadius said, “because they can’t kill us.”

Born to a S醡i mother and a father who is Tornedalian, another of Sweden’s ethnic minorities, Laestadius, 51, grew up outside Kiruna, a mining city about 125 miles north of the Arctic Circle. Early in life, she began internalizing shame about her identity, she said. Her mother spoke S醡i with her parents and neighbors, but would switch to Swedish whenever she went into the city.

“It made me automatically start to think something is wrong,” Laestadius said of her mother’s code-switching. “We are something wrong.”

That sense grew stronger once she started school, she said, and faced bullying and rejection from the non-S醡i children. “I started to realize that I should be quiet about who I am.”

In her 20s, Laestadius moved to Stockholm where she worked as a crime reporter for several Swedish newspapers. But gradually, as both a journalist and then an author of young adult books, she began looking back at the world in which she had grown up. Her first book, published in 2007, was about a 13-year-old girl secretly studying the S醡i language.

“Stolen,” her first adult novel, also begins with a young S醡i girl. Elsa is 9 years old when she witnesses the malicious killing of her reindeer calf. As she grows up, the trauma of that moment, coupled with other brutalities — ostracizing at school, a friend’s suicide, a police force unable or unwilling to investigate the ongoing reindeer killings — transmutes into rage.

Laestadius carried around the idea for a novel for seven years, she said, but kept herself from writing it out of concern that she didn’t have the right to tell reindeer herders’ stories since she herself did not come from a herding family. But after two of her young cousins — brothers — killed themselves, she felt she could no longer avoid writing about the impact of imposed inferiority, she said.

“Suicide is something that every S醡i family has been through,” Laestadius said. “I wanted people to know; this is what happens when you treat people like this, when they get so much hatred.”

As she began talking to herders for research, her sense of urgency grew.




“Everybody told the same story,” she said. “I could feel their sorrow and their desperation.”

When a young herder gave her copies of a hundred reports of reindeer killings that had been filed with the police without any arrests being made, Laestadius had had enough: “I wrote this book with a lot of anger.”

She also wrote it with sensitivity and insight for the subtleties of S醡i life. From the pride that Elsa takes in her g醟ti — the traditional, ribbon-trimmed S醡i dress — to the embarrassing way that tourists gush over her, “Stolen” illuminates a culture that many in Sweden have long ignored or reviled. S醡i words dot the text — an intentional strategy for overcoming the shame that prevented her own mother from teaching her the language. “It is my sorrow that I don’t speak S醡i,” Laestadius said. “So it became even more important for me to have it in my books.”

Although “Stolen” is fiction, some S醡i have found it a welcome depiction of their reality — including the reindeer killings that many S醡i organizations are fighting to have classified as hate crimes. “Ann-Hel閚 depicts nuances in the culture that I’m not sure non-S醡i would pick up on,” said 舠a Larsson Blind, vice president of the S醡i Council, a nongovernmental organization that works to protect S醡i rights. “It’s quite an extraordinary talent that she can write a story about something that is quite specific to a small culture, but that is interesting to a wider audience.”

“Stolen” won Sweden’s reader-voted Book of the Year Prize in 2021, and is being adapted into a film for Netflix.

Laestadius is now part of a large community of S醡i artists, musicians and writers whose work contains political messages. “Within S醡i culture, artists have always been activists,” Larsson said. “It’s natural for them to express strong political statements through art, and it can be more powerful too, because people tend to be more open to art.”

In recent years, a number of S醡i artists, musicians and writers have gained new attention and acclaim for their work within Nordic countries. Director Amanda Kernell’s film, “S醡i Blood,” took the top prize at the 2017 Gothenburg Film Festival. Mats Jonsson’s “When We Were S醡i,” which tracks the author’s attempt to reconcile his recently discovered S醡i ancestry with his Swedish identity, became, in 2021, the first graphic novel ever nominated for the August Prize, a prestigious literary award. Artist Maret Anne Sara’s moving piece of protest art, Pile O’S醦mi, crowns the entrance to Norway’s recently inaugurated National Museum in Oslo. The Nordic Pavilion at the 2022 Venice Biennale was devoted entirely to S醡i artists.

In the eastern city of Umea, Krister Stoor, a professor of language studies who teaches “Stolen” as part of his university curriculum, has seen a major transformation in the local literary festival. “This year, there are so many S醡i authors,” he said. “Ten years ago you would have had a hard time finding one.”

Although the Church of Sweden has apologized for its role in repression against the S醡i — including by overseeing boarding schools that forcibly assimilated S醡i children — the Swedish government has not.

It is uncertain whether the recent outpouring of cultural energy and interest are affecting Swedish attitudes and policy, but there are signs of change. In December, the Swedish government agreed to return for burial the remains of 18 S醡i whose bodies had been used in the early 20th century in now-discredited race-based research, and it has promised to facilitate the repatriation of S醡i artifacts currently held in Swedish museums.

At least among some sectors of Swedish society, there is growing awareness of Sweden’s responsibility for the treatment of the S醡i. In a glowing review of “Stolen” for the newspaper Expressen, Gunilla Brodrej, a culture editor, expressed shame for once dismissing as unrealistic a television series that depicted the racism the S醡i face.

“In school, I, and even my children, learn that we Swedes have arranged everything in a very good way for the S醡i,” she said in an interview. “But when you read a book like this you realize that it’s a much darker story than we ever learned.”

Laestadius has seen some impact. Local newspapers are covering the reindeer killings more frequently, and there are signs that authorities may be paying more attention to the cases. “Usually they never come,” she said of the police, with a wry grin. “But last summer when a reindeer was killed in a little village, they sent a helicopter.”

She is still angry, however, and she still has more to reveal. In February, her latest novel will come out in Sweden. It depicts the brutal conditions at the boarding schools S醡i children were sent to, and is based on her mother’s experience.

As the noontime sun began to set, Laestadius posed for a few more pictures in the snow-clad village where her “Stolen” is set.

“Now we have the opportunity and the power to tell our story,” she said. “It is ours to tell.”

This article originally appeared in The New York Times.