Sjón: The Icelandic polymath who writes from inside the belly of a whale

Ideas & Philosophy · Published 3 October 2026 Swipe more like this →

In short: Sigurjón Birgir Sigurðsson, known as Sjón, is an Icelandic visionary whose work blurs the lines between human and animal. From punk rock beginnings to Oscar-nominated screenplays, his surrealist storytelling is deeply rooted in the volatile, volcanic landscape of his home and a complex family history of wartime treason.

Born in Reykjavík in 1962, Sjón began his career as a poet at just 16. His early years were defined by a hunger for global culture, fueled by the influence of David Bowie and a fascination with the punk subculture of London and New York. This international outlook eventually merged with his Icelandic identity, leading him to co-found the neo-surrealist group Medúsa. Today, he works from a fisherman's cottage in Reykjavík, where the bones of a beached whale hang on the wall, serving as a constant, visceral reminder of his proximity to nature's raw power.

Sjón’s writing is famously characterized by metamorphosis and the blurring of boundaries between species. He views Iceland’s tectonic instability and surrounding sea as both a source of inspiration and a reminder of humanity's vulnerability. This perspective has garnered praise from literary figures like A.S. Byatt, who noted that his work shifts the very map of literature. His creative reach is vast, spanning collaborations with Björk—including their Oscar-nominated song 'I've Seen it All'—and writing screenplays for films like the folk-horror hit 'Lamb' and the Viking epic 'The Northman'.

Beyond his artistic output, Sjón is a vocal critic of nationalist attempts to claim Nordic culture. He argues that Icelandic heritage has always been a hybrid, and he actively advocates for a more inclusive definition of national literature that embraces works written in languages like Spanish, Polish, and English. His 2019 novel 'Red Milk' reflects this engagement with history, drawing on the personal discovery that his own grandfather was a Nazi spy who returned to Iceland on a U-boat in 1944. By weaving these dark, historical threads into his surrealist narratives, Sjón continues to challenge the boundaries of both his country and his craft.

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