No, that is not allowed. To use quotes in news articles or reports is normally okay. Public works may be quoted according to good practice (fair use), and in amounts that are motivated by the purpose. Good practice means, amongst other things, that the author is mentioned and that the quote itself is never so extensive that it will become the main part of the new work. Quotation rights only apply to limited parts of a material – for example, for educational purposes or for a scientific analysis of the text. The use of a quote must take place with a loyal purpose and must never violate the author. To place someone’s quote on a product is never considered okay according to quotation rights.
We have collected the most well known, the best, the funniest, the quirkiest and the most appreciated of all of Astrid Lindgren’s quotes here together with their correct source references.
If you use a quote according to fair use (see above) it is advisable to disclose the source of the quote too.
The Internet is full of quotes attributed to Astrid Lindgren, but without a source to confirm them. Here are some of the most common incorrect quotes:
"I have never tried that before, so I think I should definitely be able to do that."
This quote is widely available and is often assumed to be said by Pippi Longstocking, but Astrid Lindgren did not write it and there is no known source reference to it.
“Be crazy, wild and wonderful” / “Sei frech, wild und wunderbar”
This quote is of German origin and refers to a postcard picturing a small child dressed as Pippi. The postcard states that the author is Jochen Mariss. Many people believe that this is something Astrid Lindgren has said, but this is not the case.
“I am the sea and nobody owns me”
The quote comes from the Canadian animated TV series about Pippi Longstocking and is not an original quote by Astrid Lindgren.
The Astrid Lindgren Company receives many questions regarding the use of these quotes, but always reject any proposition to employ them in connection with Astrid Lindgren or Pippi Longstocking.
It isn’t precisely Pippi who utters these words but rather the narrator describing Pippi. It is included as the explanation for Pippi’s conduct towards the burglars in the picture book Do you know Pippi Longstocking? from 1947.
"Then both burglars became so frightened that they started crying. Pippi felt sorry for them and gave them a gold coin each to buy some food with. Because Pippi is kind. If you are very strong you must also be very kind.”
See our Press room for further information. The photographs may only be used together with editorial copy in connection with Astrid Lindgren’s person or work. When you download a picture with the intention of publishing it, we request that you apply for permission and inform us as to where and for what purpose you wish to use the picture. Send your email to email@example.com. For other pictures the easiest way is to contact an image bank.
For school compositions or presentations related to Astrid Lindgren or any of her works, we have a set of special rules and may permit image use to a limited extent. Contact firstname.lastname@example.org for more information.
No, the press images are by Jacob Forsell and need special permission in order to be used in a book. Contact TT News Agency: email@example.com.
To use one of Ingrid Vang Nyman’s illustrations you will need permission from The Astrid Lindgren Company. For other illustrators you will need permission from the illustrator in question.
Please contact the film company SF if you require rights to publish film stills from the classic Astrid Lindgren movies: firstname.lastname@example.org
You are of course allowed to do it at home, however you are not permitted to sell or market cakes or such things using Pippi Longstocking or any other of Astrid Lindgren’s characters.
There is a rather high demand for products with images of Pippi, Emil, Ronja and the others. Pippi is the most popular. In order to meet this demand a number of products are licensed.
You are allowed to make clothes inspired by Astrid Lindgren’s characters, but you are not allowed to sell or market them by, for example, stating that you’re selling an "Emil in Lönneberga"- cap or a "Pippi"-dress. Names such as Pippi Longstocking, Ronja, the Robber's Daughter and Emil in Lönneberga etc. are trademark protected and in order to use them for commercial purposes you will need a license from The Astrid Lindgren Company.
Yes, provided that Astrid Lindgren’s work, characters, or related images are not used in its marketing. We also require that the nursery school or its equivalent has a non-political and non-religious agenda. Please contact us for a license agreement.
What is possible to do within the framework of so-called artistic license is generally quite generous. It is therefore ok to create artworks relating to Astrid Lindgren and her work, however it is not allowed to sell or market reproductions of them using Astrid Lindgren or any of her characters without permission.
The Astrid Lindgren Archives are the library’s most extensive. UNESCO named it Memory of the world in 2005. The archive holds 75 000 letters, 100 000 press clippings and a catalogue of the author’s 4 000 books. It also holds notepads of shorthand writings, scripts, postcards, drawings and other related belongings. Most of the material can be accessed through Libris or Regina (the library’s database). To access research from parts of the archive with limited access, you need consent from The Astrid Lindgren Company. Please email us at email@example.com. If you are interested in a particular correspondence you may contact the National Library’s Manuscript Division for more information.
Yes. Astrid Lindgrens home at Dalagatan 46 in Stockholm is where the world famous author lived and worked from 1941 to her death in 2002. This is where timeless classics such as Pippi Longstocking, countless letters and articles were written.
Guided tours of the home are open to the public. The tours are conducted in Swedish and occasionally in English, German and Russian. Reservation in advance is necessary. Please check the homepage of The Astrid Lindgren Society for details.
The Astrid Lindgren Company, which owns and manages Astrid Lindgren’s rights, is behind this website and all the information you can find on here. The texts are written by a number of different writers and fact-checked by The Astrid Lindgren Company.
In order to put on a theatre performance in school you will need permission if the play is to be performed in front of a public audience. Read more about theatrical rights below.
It is not permitted to play the role of Pippi Longstocking, or anyone else of the characters, for child entertainment purposes in a public context, except within the scope of a theatre production with an approved script. If a public audience is invited then it is counted as a public event. Read more about theatrical rights below.
As a private person you are obviously free to perform in any way you want, but publicly it is not allowed to perform or entertain as Pippi Longstocking or any other of Astrid Lindgren’s characters. The characters she has written about do not exist in reality, apart from in theatre plays.
Event companies and others do not have the right to borrow Astrid Lindgren’s characters without The Astrid Lindgren Company’s consent. Out of respect for the author and her strong wishes to let the characters remain exactly just as she imagined them, we are very restrictive about the contexts in which they may be used.
To explain how we think, let’s take Pippi as an example: if it was free for everyone to use Pippi however they liked, then the real Pippi would eventually disappear. Even if it perhaps feels as if Pippi belongs to everybody, she is Astrid’s creation. It is The Astrid Lindgren Company’s job to try and think and act as Astrid did. What that means is that Pippi isn’t just a fun figure amongst others but first and foremost Pippi from the books, the films and the approved theatre scripts. So when we say no to something it is because we want to protect Pippi. When a child meets Pippi it should be the real Pippi, the way Astrid Lindgren described her.
We also don’t want Pippi to appear on products that we haven’t had a chance to control or agree to. Ultimately we are responsible if something happens or if someone feels misled. Because Astrid created such a strong character, with such a strong personality and distinctive way of dressing, it is easy to dress up as Pippi. Which is why so many children love to play Pippi. This is a great joy to us and to everybody else who loves Astrid Lindgren. Play as much as you like - but if Pippi turns up at the supermarket offering crisps or pretends to be a pirate at a holiday resort then it is not Astrid’s Pippi, and that we say no to.
It is neither the ticket price nor who the performers are that determines what is permitted or not. Anyone wishing to perform a play before a public audience needs to have an approved script and a contract. Even the parents of school children are counted as a public audience.
Find out more about how theatre rights work here.
That question is not as easy to answer as you might think – it depends on what and how you count. There are 34 original books and 41 picture-books. She has also written innumerable scripts for TV, theatre, radio theatre and film. These have given rise to the need for songs and music, and Astrid has written more than 40 song texts.
It’s impossible to give an exact figure, but the official estimate is in the vicinity of 165 million copies worldwide.
The books about Pippi Longstocking are the most popular of all. In Germany, for example, they represent a quarter of all Astrid Lindgren sales. The Pippi books have been translated into 77 languages (2019) and have been sold in around 60 million copies.
At school, Astrid was already good at writing. In an exercise book from 2nd grade, there is a composition about a man and a bear, for which Astrid was awarded AB (mark: Very Good). Later on, her compositions were read out in front of the class, and at the age of 13 Astrid had her composition, På vår gård (On our Property) published by Wimmerby Tidning (the Vimmerby Times). According to the editor of the paper, her composition was “a sample of stylistic flair seldom seen among our youth”.
In the autumn of 1924 she began as a voluntary worker at Wimmerby Tidning where she was given the task of writing small notices and articles. The subject of one of the articles was the opening of the new railway line between Vimmerby and Ydrefors. In that paper she also had published a series of travelogue articles – one of which is the account of her visit with the author Ellen Key at her property, “Strand” on the shores of Lake Vättern.
From 1933-1944 (the year of her debut as a novelist) Astrid Lindgren also had many fairytales published in various magazines, including Mors hyllning (A Tribute to Mother) and Landsbygdens Jul (A Country Christmas). One of the pieces is about Olle and the aggressive dog, Svipp – a story which turns up again in the Noisy Village books.
Astrid liked both reading and writing and came from a family where stories were always told. When she became a mother herself she told stories for her own children at bedtime. Once when her daughter Karin was ill and begged her to tell a story, Astrid asked about what. “Pippi Longstocking”, replied Karin, and in that moment the name was invented. A few years later when Astrid fell, hurt her foot and was forced to stay in bed, she decided to pass the time by writing down her stories about Pippi and give them to Karin for her tenth birthday. Perhaps it was then that it began and then that Astrid truly realised how much she enjoyed writing. And when she had finally started she didn’t want to stop.
Britt-Mari lättar sitt hjärta (Confidences of Britt-Mari) – a teenage novel. It was published in 1944 after having won 2nd Prize in Rabén & Sjögren’s girls’ book competition in September that same year.
The very last book Astrid Lindgren created is a picture-book called Sagoresan (The Story Journey). In Sagoresan we get to hear the same story as on the Story Train at Junibacken. The story was created together with the illustrator Marit Törnqvist in 1994, and was published as a book in 2006. Her last major work is Ronja, the Robber’s Daughter (1981).
No other Swedish author has had their books translated into as many languages as Astrid Lindgren. But it is difficult to be precise as to how many, partly because of how one differentiates between languages, dialects and language variants.
Counting the total number of translations of Astrid Lindgren’s texts into other languages or language variants, there are as many as 107 different translations (2019). Here is a list of them.
The best thing to do is to try with online booksellers. If you’re having trouble finding what you’re looking for please feel free to contact firstname.lastname@example.org, to find out if the text has been translated into the language you desire.
When a book is to be translated into a new language we ask that there is a publisher or equivalent organisation involved that we can write a contract with for the publication of the book. This is because we want to make sure of the quality of the translation, the print, the distribution and the sales strategy.
In most cases there are usually already one or more active publishers for the larger languages. However, the copyrights might still be available for smaller languages, and occasionally with certain titles in larger languages. Write to The Astrid Lindgren Company and tell us about your publishing company and your current list of publications, as well as which or which ones of Astrid Lindgren’s books you are interested in publishing. We prefer Astrid Lindgren’s books to be translated directly from the original Swedish.
The distribution and sales rights for the Astrid Lindgren films are not coordinated worldwide. The rights vary from film to film and from market to market. The best way to find films is through e-commerce sites on the Internet or simply turn to SF via email@example.com.
A complete list of all film adaptations can be found here on the Swedish version of this webpage.
In 2013 the plans for an international film adaptation of The Brothers Lionheart, directed by Tomas Alfredson, were publicised. After going back and forth from the drawing board the movie project has now had a fresh start. There are no financial worries; several strong players are ready to get involved in the project. It continues to be an international movie production and the film will be in English.
In the beginning of the 1970s, before Studio Ghibli had been founded, Hayao Miyazaki and Isao Takahata were involved in plans by the Japanese company A-production to make an animated version of Pippi Longstocking. Miyazaki travelled to Sweden along with the company's boss in order to request the film rights, and to conduct some preliminary location scouting. However, when they finally arrived in Stockholm they were told that Astrid Lindgren could not see them.
In an interview Miyazaki recounts how he was disappointed that Beta Film, who were acting as intermediaries, had not arranged things better ahead of their arrival, “but on the other hand it was pretty obvious. You don’t just meet with someone who suddenly turns up from somewhere in Asia and says ‘I want to turn your book into an animation’”.
At this time Miyazaki was in the beginning of his career and neither he nor Japanese Manga were well known in Sweden. These circumstances resulted in Astrid Lindgren never actually meeting Hayao Miyazaki. She was also fundamentally against the idea of making animated versions of her stories. It wasn’t until the late 1990s that she was finally persuaded to give permission for the Canadian animated Pippi series to be made, and she wasn’t particularly happy with the result.
After having seen Studio Ghibli’s famous movies, would Astrid Lindgren have agreed to a new request? It is impossible say and to Hayao Miyazaki the question is irrelevant. As he stated: “We invested an enormous amount of energy in doing what we were planning to do. It depleted me, so now I no longer want to do it. That’s just how it goes. You cannot succeed in animation if you don’t devote everything you’ve got to it”.
Miyazaki did end up using some of the material he had created in connection with his trip to Sweden. In Panda, panda the setting has been moved to Japan but a lot of the work he had done in preparation for Pippi is used for certain characters and interior settings. And for the city of Koriko, which appears in Kiki’s Delivery Service, he got the inspiration from things he had seen during a visit to Visby, a city on the Swedish island of Gotland.
Source: The book Maboroshi no Pippi Longstocking (”The Phantom Pippi Longstocking”, Studio Ghibli, 2014) and The Astrid Lindgren Company.
If you want to perform the songs in public, live or in a recorded version, then you will have to notify STIM, the Swedish copyright organisation for music creators and publishers, or the equivalent foreign organisation. It is the person in charge of the venue or the event where the songs will be performed that is responsible for reporting to STIM.
It is, however, not permitted to use so-called synchronisations, i.e. when the music is used together with moving images or in the context of advertising.
Please bear in mind that a theatrical element within a concert also requires permission. The Astrid Lindgren Company will not give permission for Pippi Longstocking, or any other character, to conduct public sing-alongs or other such events. If you are unsure of what the rules are for the type of event you want to create, contact us.
Contact the publisher that holds the music rights. If you don't know which publisher, please contact The Astrid Lindgren Company.