By Jens Månvinge
Efter att ha jobbat i den thailändska regnskogen beslutar sig Jens Månvinge för att ge sig av until eventually Bangkok och fixa sin trasiga ekonomi. Det är ett ödesdigert beslut som blir upprinnelsen until en skakande historia. Det dröjer inte länge förrän han blir gripen för ett grovt narkotikabrott i centrala Bangkok där amerikansk och thailändsk polis ligger och väntar i ett bakhåll. Domen faller och han undgår dödsstraff efter att ha erkänt sig skyldig. Med ett straff på trettio år kastas han in i Asiens mest ökända fängelse. Tillsammans med 12 000 fångar är hans öde, likt deras, förutspått att falla provide för våld, förtvivlan och sjukdomar. Döden tycks vara den enda vägen ut.
När hans närmaste vän i fängelset dör i hans armar fattas ett beslut. Jens och en cellkamrat beslutar sig för att försöka rymma.
Den senila skalbaggens tröst är en sann historia och Jens Månvinges egen gripande berättelse om sina år i Asiens mest beryktade fängelse - Klong Prem legal - bättre känt som "Bangkok Hilton".
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Extra resources for Den senila skalbaggens tröst
Indeed, Orrery’s heroine partially symbolizes the land over which they are ﬁghting, so that her corpse is almost necessarily present during the duel. 2 In Behn, however, the body of the seemingly murdered woman is initially placed in a predominantly female order: it is surrounded by mourners who (apart from the penitent Alcippus) are chieﬂy women. But the scene of female community is then disrupted by male violence, as Phillander (Erminia’s true love) enters, the men draw, and the women mourners are put to ﬂight, their ceremonial garb of grief being lost and disordered in the process.
Against the ﬁnal, ﬁxed distribution of roles are set the ﬂuid dualities that have reigned for most of the play. All major characters – Thersander, Cleomena, Amintas, Urania, Orsames – have undergone a division of role or identity, suggestive of a division between masculine and feminine principles. Orsames’s ﬁrst reign, an outburst of uncontained masculine impulses, gives way to his second, First Attempt 29 in which he is civilized by the power of woman, and there is an extraordinarily complex interchange of personal and sexual identities in the ruses whereby Thersander assumes the role of Clemanthis, Amintas that of Clemanthis/Thersander, and Cleomena that of Amintas/Clemanthis/Thersander.
At the beginning of The Indian Queen, the Ynca of Peru offers his victorious general, Montezuma, any reward he cares to name, but banishes him when he requests the hand of his daughter. Here, it 30 First Impact 31 is the daughter who is willing and the king who is opposed. Behn’s reversal of this situation – with the king now willing the marriage and the woman resisting – creates an entirely new perspective upon military heroism: Dryden’s Ynca is unjust because he contravenes the rules of his society, breaking his promise to the soldier on whom he depends; Behn’s king, by contrast, is unjust because he obeys the rules and rewards the hero.