Olof does not call his charming girls real names, but invents descriptive nicknames such as Clematis, Gazelle, Daisy and Rowan.

Olof exudes emotion at every moment: “Only while we are young, only while the flood of youth runs free and bright in our veins can we be happy.

When Linnankoski began writing his successful novel in the summer of 1904 at Vuohensaari in Salo, he had no actual written plan for the plot.

He had lived a youth full of passion and controversy, but had been married for a few years to Ester Drugg (1872–1943)[2] when he wrote the book.

The role models and the people and events that ended up in the book were close to each other, but there was no direct reproduction; Linnankoski edited and selected them for his own use.

[11] From the outset, the basic themes of Linnankoski's literary work have been implicated in his production, including The Song of the Blood-Red Flower: love, the struggle between good and evil in man himself and growth as a human, and the resulting moral problems of guilt, punishment, and atonement for the past.

Linnankoski had three ideas that he cherished and implemented in his own life and in his literary production: educating the people, strengthening the Finnish national identity, and the humanity hidden in every person.

[2] It brought Johannes Linnankoski instant literary fame among the people, and his reputation extended beyond the borders of his country.