MIKAEL VIIMA
Poetry.
Fiction.
The human animal without an alibi.
Finnish writer Mikael Viima writes psychological poetry and noir about the human animal: desire, memory, science, mortality, power, art, absurdity — and the things behind masks.
Published in Finland by WSOY and Otava.
Current / poetry
FEED
A poetry manuscript.
Physics beside grief. Sex beside death. War beside jokes. Art beside contempt for art. Some poems stretch across the page; some barely survive a sentence.
FEED is built less like a themed collection than a mind under pressure: empirical reality, private damage, public absurdity, beauty, age and the occasional refusal to behave.
The manuscript currently contains approximately 70 selected poems from a body thrice that and is being prepared by editors for English-language submission.
Fiction / Aarni Susi
A detective whose own mind is the least reliable room in the building.
The Aarni Susi novels are hard-edged psychological crime stories set in contemporary Helsinki. Real criminal behavior from real crime cases from Finland across two decades, institutional failure and damaged cognition matter as much as plot.
The series began with Verijälki in 2022 and continued with Rekyyli in 2023, both published by WSOY in Finland.
Nonfiction / Psychology
Manipulation rarely begins by looking like manipulation.
Published under the author's real name, Manne Laukkanen, Vaaralliset gurut examines destructive leaders, coercive control and cult dynamics: why followers surrender their judgment, and how manipulation can be recognized before the cost becomes irreversible.
Published.
And now, it begins.
Mikael Viima's fiction has been published in Finland by WSOY. Under his real name, Manne Laukkanen, he is also the author of a PhD thesis blueprinting a statistical home-prediction system to predict the home base of serial offenders based on their spatial and crime-site behavior.
I am interested in the moment when the respectable explanation collapses and the animal underneath speaks.
In a murder investigation. In a marriage. In politics. In a laboratory. In a poem.
The genres change. The narrator does not.
