Travel writing is a varied genre, and this new collection engages with this range well. As the title suggests, the volume is specifically concerned with Nordic travel, but this is widely interpreted, including travel to and from the region. The book is the product of an online conference organized by The Norwegian Academy of Science and Letters (Det Norske Videnskaps-Akademi) and research groups at the University of Oslo in 2020. This, as well as the affiliation of the editors with Oslo universities, may explain the strong Norwegian focus of the book, although other Nordic countries appear as departure points and destinations.The introduction is written by the editors, Janicke S. Kaasa, Jakob Lothe, and Ulrike Spring, and reflects on how comprehensive definitions of travel writing allow for interdisciplinary considerations of a range of narratives. Kaasa, Lothe, and Spring also reflect on the multiple perspectives of the Nordic provided by the collection, which “shows not only how different perceptions of the Nordic are but also how they have changed over time” (p. 11). This range is shown straight away with the opening chapter by Mieke Bal reflecting on travel in the art of Edvard Munch. Whilst the subject is conventional, Bal's approach considers the influence of travel beyond depictions of “abroad,” reflecting on the ambiguous benefits of comparison that travel provides and searching for traces of this in Munch's work. The chapter is enhanced by eight color images of paintings by Munch described in the text, and other chapters contain similarly useful illustrations. Heidi Hansson's contribution similarly widens the definition of travel narratives by considering representations of the North in the mid-nineteenth-century fiction of Swedish author Fredrika Bremer, especially the idea of northern Sweden as a space of renewal. She also notes how these discourses displace the practicalities of travel in Bremer's writing, rendering the North a space where “documenting events is more important than the actual experience” (p. 60). Hansson also importantly notes the colonial aspects of Bremer's texts when writing about Sámi characters and Sápmi.Alexandre Simon-Ekeland's chapter offers a fascinating perspective on a particular aspect of travel to the North in the reactions of French travelers to whaling in Northern Norway. Informed by histories of senses and emotions, Simon-Ekeland considers the appeal of and disgust toward whaling, and the popularity of a particular whaling factory for cruise tourists around 1900. Reactions to it were often mediated by class and gender and spoke to wider concerns about the relationship between humans and the natural world. A different French travelogue from Norway is Léonie d'Aunet's account of the La Recherche expedition, first published in 1854, and Janicke S. Kaasa's contribution to Nordic Travels traces the history of its translation into Norwegian. Kaasa notes the ways in which the framing of the journey has been altered in the 1968 translation, a “manipulation” of the text for a Norwegian audience, which creates a “more coherent focus on Norway and Norwegians” (p. 96). As such, Kaasa reflects usefully on how “new target audiences contribute to shaping and altering travel writing's rendering of place” (p. 99), especially when that audience contains the travelers themselves.Ulrike Spring's chapter places a greater focus on the material culture of travel, particularly the practicalities that Hansson noted in their absence in the writing of Fredrika Bremer. Spring considers how souvenirs are “travelling objects,” which both “cross borders” and “are fixed in a specific space” that they represent (p. 107). Spring takes the example of an illustrated map of the Norwegian coast and how it created a “tourist space to be visually consumed” (p. 109). Importantly, Spring also urges the reader to look beyond representation and consider the complexity of tourist experiences. Iver Tangen Stensrud similarly balances representation and material histories in his chapter, and highlights the importance of the Illustrated London News in “promoting Norway as an attractive destination” (p. 121), especially an 1857 article on the country, as well as the reuse of the wood engravings that provided the illustrations. Of particular interest is the way in which Norwegians contributed to the “transnational co-creation” (p. 137) of Norway as a tourist destination, through guidebooks and other texts intended for foreign audiences.Andrew Newby and Jakob Lothe also focus on the writings of British travelers in Norway in the nineteenth century, albeit in different textual forms. Newby looks at an unpublished travel journal from Norway written by Robert Wilson in 1830 and considers the transnational networks of elite business and social connections that existed between Norway and Britain. Lothe takes the mountaineering travelogue of W.C. Slingsby, The Northern Playground (1904), and reflects on how its use of epigraphs destabilizes what seem to be established themes. Both add interesting perspectives to the literature on British travel to Norway in the nineteenth century, building on the work of Peter Fjågesund, Ruth A. Symes, and Kathryn Walchester, among others.Anders Johansen's chapter considers the differences in ethnographic research conducted by professional museum ethnographers and by “unprepared natural scientists” (p. 185) from Norway, particularly polar explorers like Fridtjof Nansen and Harald Sverdrup. Johansen notes that the extended periods of contact with Indigenous peoples that circumstances forced upon explorers made for far better fieldwork conditions than the short expeditions of museum professionals. This distinction, however, feels too sharp and romanticizes the work of the explorers, whilst neglecting the disparities in power and perspective in their writings. The chapter could also be grounded further in the existing scholarly literature on exploration and ethnography in the late nineteenth century. Elletra Carbone also writes about Nordic travelers claiming expertise about a foreign place and culture. In her chapter, this is Naples and the wider south of Italy, as depicted in the writings of Axel Munthe (1857–1949) and Hans Ernst Kinck (1865–1926). A Swede and a Norwegian, Munthe and Kinck both spent significant time in Italy, traveling widely, and Carbone discusses their writings “not just as Nordic travellers to Italy but as expert Nordic voices” (p. 206). By reflecting on audience, as Kaasa's chapter also does, Carbone adds important nuance to how travel texts present place through authorial expertise.Ellen Mortensen and Kjersti Bale both reflect on the work of contemporary Norwegian authors who discuss travel in more indirect ways. Mortensen considers the recent historical fiction of Edvard Hoem about Norwegian emigration to the United States in the nineteenth century. As Mortensen notes, Hoem's fiction is researched in detail and is based on the experiences of his own family, blurring the line between fiction and family history and raising the question of who travels in a travel narrative. Bale's chapter discusses the Norwegian author Marit Eikemo's travel essays, particularly her 2008 collection Samtidsruinar (Contemporary Ruins). Eikemo's themes, of de-industrialization, migration to Norway, and institutionalization, contrast strikingly with the prelapsarian visions of Norway presented in the writings of earlier travelers. Contemporary depictions of the Nordic are also the topic of Peter Fjågesund's pithy chapter, which reflects on several recent travel narratives and considers the similarities—mainly a focus on the region as peripheral—with nineteenth-century travelogues. The contemporary narratives are marked by an “innate centralism, which again tends to tip over into condescension” (p. 270), and Fjågesund's historical comparison offers an important and interesting contrast to other chapters.The collection is completed with Tyrone Martinsson's chapter on the Andrée Expedition and its legacy in different media. Martinsson particularly considers the use of discovered photographs from the exhibition and their influence on textual and film accounts, as well as museum spaces and even their relevance to measuring glacial retreat. Martinsson's chapter encapsulates many of the strengths of the collection: a willingness to view travel from different perspectives, particularly moving beyond simple written accounts of journeys, an interdisciplinarity that suits the study of travel, and thematic connections across chapters, especially reflections on genre, audience, and reception. The discussions in Spring's and Hansson's chapters about the need to move beyond simply considering representations of place are also particularly valuable. The collection could benefit from more focus on Nordic travel beyond Europe, showing the relationships between Scandinavian travel and the wider colonial world more clearly, and building on the work of Elisabeth Oxfeldt and Kirsten Alsaker Kjerland and Bjørn Enge Bertelsen, among others. However, contributions from the collection add to wider histories of material culture and the senses and emotions. I would strongly recommend this book for those interested in travel writing as a genre and the history of the Nordic world from the nineteenth century to today.