outstanding Swedish poet and essayist.

Ekelöf exerted great influence on his contemporaries. His radically modern style was influenced by such poets as Charles Baudelaire, Arthur Rimbaud, Ezra Pound, and T.S. Eliot. In such poetry from the 1930s as Sent på jorden (1932; “Late on Earth”), Ekelöf was drawn to the Surrealist technique of automatism (the spontaneous release of the subconscious in the creative act), but his work also reflects an interest in musical forms and Oriental mysticism. A student of Oriental languages, Ekelöf felt divided between mystical tendencies and rationalism. This conflict is apparent in Färjesång (1941; “Ferry Song”) and Non Serviam (1945; “I Will Not Serve”). Central to Ekelöf's work is En Mölna-elegi (1960; “A Mölna Elegy”), published in several earlier versions from the mid-1940s. Its starting point is within the mind of the poet, sitting at Mölna dock on a summer day in 1940. Memories from his individual past intermingle with those of history in an endless panorama.

In the 1950s Ekelöf turned away from finished compositions to work in fragmentary forms, as in Strountes (1955; “Nonsense”). The last decade of his work is dominated by the Akritas trilogy, Dīwān över Fursten av Emgión (1965; “Diwan over the Prince of Emgión”), Sagan om Fatumeh (1966; “The Tale of Fatumeh”; Eng. trans., Selected Poems), and Vägvisare till underjorden (1967; Guide to the Underworld). The trilogy contains Ekelöf's finest poetic expression of the simultaneous experience of presence and transitoriness. In 1958 Ekelöf became a member of the Swedish Royal Academy.