tidbits and more reviews

Some tidbits . . .

There is a new imprint for translated fiction coming from Little Brown and Crown. From the press release:

Trapdoor will publish up to six commercial crime, suspense and thriller titles a year, all in translation, and will be launched with the publication of Sebastian Bergman by Hjorth and Rosenfeldt in paperback on July 5th. Spring 2013 will see the publication of the second title on the Trapdoor imprint, The Devil’s Sanctuary, a heart-stopping psychological thriller by Swedish bestseller Marie Hermanson.

Julia Buckley interviews Ake Edwardson at Mysterious Musings. He says “I’m a sad person, or melancholic, and down right pessimistic most of the time. Probably that’s why I laugh so much; you have to laugh at all the madness around you or you’ll go stark raving mad, start running screaming through the streets naked in the night with just your underwear in your hand.” He also says, when asked about the state of journalism,

“… the good and serious stuff goes slowly/fast down the drain, the horror of banality takes over, knowledge gets confused with information. Still there’s wonderful journalism out there; Sweden tries to maintain decent newspapers, and the best papers in USA, England, France and Germany are still worth reading/working for. The problem is of course that good journalism is expensive, objectivity is expensive, to send a reporter to the other side of the world is expensive, or have a team work on some investigation for a long time.”

Erik Winter, his police protagonist, is a “hopeful person” – making me think perhaps Edwardson, like many journalists, finds fiction a way to say what needs saying in a way that is an alternative to the underwear-in-hand approach.

Camilla Lackberg is profiled in SCANmagazine (thank you, Philip) as she publishes more of her popular Fjalbacka-based series in  both the UK and US.

Publishing Perspectives covers the Salomonsson Agency, a Swedish powerhouse that represents many of the most successful Nordic crime authors. It’s a far sunnier picture than Sarah Weinman’s profile of the agency’s head last year.

At the Telegraph, Henning Mankell says that Kenneth Branagh makes a good hand of playing Wallander and likes the BBC film versions of his books. The article has quite a few insights into the author as well (and has collected some remarkably hostile and silly comments).

American cable television station A&E (which does not stand for Accident and Emergency, contrary to UK usage) has acquired US rights to create a pilot of a series to be based on Elsebeth Egholm’s crime series.  Or rather based on a Danish television series based on the books. And probably moved to a US setting. There is a reason I prefer reading to watching television.

And now for the reviews . . .

Sarah at Crimepieces reviews Helene Tursten’s Night Rounds, finding it a well-done police procedural with a touch of the supernatural, which she enjoys, and a solid plot, though with some startling lapses on the part of otherwise competent police. She also reviews the second book in Thomas Enger’s Henning Juul series, Pierced, which she feels picks up the story about Juul’s dead son very movingly. Enger has become a “must-buy” author for her.

Maxine Clarke reviews Killer’s Island by Anna Jansson at Petrona and finds it a quick read that does more to develop the characters than to provide a realistic story line – mainly because all of the puzzle pieces snap together a bit too tidily, with none left over.  It’s altogether a rather old-fashioned read. Glenn Harper also reviews it, and a television series based on Jansson’s work. He finds it a bit overwritten in places, but predicts it will be of interest to those who enjoy getting caught up in the character’s personal lives, likening it to Camilla Lackberg’s work.

Maxine also reviews Ake Edwardson’s Sail of Stone, which she finds a good read, though not a very good mystery (and the second half, minus the not-very-satisfactory ending, is better than the first.)

And at Euro Crime, she reviews Camilla Lackberg’s The Drowning, which she feels has a good 250-page mystery hidden within its 500 pages, much of which is devoted to the domestic lives of its detective protagonist.

Peter Rozovsky reviews Lars Keppler’s The Nightmare for the Philadelphia Inquirer, then hosts a conversation at his Detectives Beyond Borders literary salon, asking whether it’s entirely a good thing to mix potboiler fun with serious social messages. On the whole, he finds this kind of “Larsson-y” an unhappy blend.

Kimbofo at Reading Matters reads The Caller by Karin Fossum. Fossum is one of her favorite authors, and this well-plotted, nuanced story is, to her mind, one of her best.  She also reviews The Boy in the Suitcase by Lene Kaaberbol and Agnete Friis, which she finds a bit of a challenging read because of the multiple viewpoints, but feels it is “an intelligent, involving and compassionate read.”

Jose Ignacio Escribano reviews the final volume of Maj Sjowall and Per Wahloo’s “story of a crime” – The Terrorists, which he notes has not lost its relevance. He includes links to his reviews of other books in the series and says “I strongly recommend reading this series to everyone, in particular to all crime fiction fans and, if possible, in chronological order. It’s a highly rewarding read.”

Karen Meek, a true Queen of Crime if there ever was one (bringing us the amazing Euro Crime site) reviews The Gingerbread House by Carin Gerhardsen, which she finds a successful exploration of childhood bullying, though with a decidedly American translation.  She also reviews the very first volume of the Konrad Sejer/Jacob Skarre series, finally published in English translation. In the Darkness introduces Sejer with a bit more background that later books, and though published originally in 1995 it still works because, as Karen points out, Fossum’s work has something of a “timeless quality.”

Ms. Wordopolis reads Jo Nesbo’s The Redbreast, and though finding the wartime scenes confusing and not engaging, she ended up taken by the characters. Though it’s her first foray into the Harry Hole series, she puts her finger on one of the author’s characteristics: extremely intricate, even convoluted plotting.

Norm at Crime Scraps reviews Arnaldur Indridason’s Black Skies, the latest in the Erlendur series in which Erlunder is absent and the focus this time is on Sigurdur Oli. Though he was never my favorite character, Norm makes me impatient to read it. Rob Kitchin found it less successful, with the first half particularly hard to get into.

He also reviews another book I want to read badly, Anne Holt’s The Blind Goddess, which he thinks is quite good, featuring a character who has changed quite a lot (and not for the better) in 1222 – and he adds some intriguing commentary on what it says about the time period when it was originally published, 1993.

At Euro Crime, Maxine Clarke reviews The Blind Goddess, the first of Anne Holt’s Hanne Wilhelmsen series and (in her opinion) a better book than the previously translated eighth in the series, 1222. In addition to a plot that works well, this book includes strong characters and full of detail that reflects the author’s background in the Norwegian legal system.

Bernadette reviews Liza Marklund’s Last Will, and gives it high marks for the way it depicts the current world of the news media, treats several explosive issues with an even hand, and gives us a complex heroine. “I can’t say that I like Annika,” she writes, “but I like reading about her and find her a hundred percent credible.” One of the rather cliched baddies, not so much – but overall she gives the book top marks.

She also reviews Karin Wahlberg’s Death of a Carpet Dealer and finds it an engaging story which offers a trip to Turkey as an added benefit. Maxine also reviews it at Petrona, finding it readable, old-fashioned, and pleasant, if not a barn-burner of a story.

Kerrie in Paradise reviews Hakan Nesser’s The Mind’s Eye, the first of the Van Veeteren series, which she finds nicely compact in these days of over-long books.

Raven Crime Reads (a new to me blog) reviews Arne Dahl’s The Blinded Man (published in the US as Misterioso) calling it “taut and well-written” and the start of a series worth watching.

Cathy at Kittling Books reviews Sara Blaedel’s second book to be available in English (and third in its series), Only One Life, which she thought fell short of the mark. Though it has some interesting information about honor killings, she couldn’t warm to the characters, and felt as if from page one ” as though I’d missed my bus and kept chasing after it as it disappeared down the street.”

Glenn Harper thinks Carin Gerhardsen’s The Gingerbread House quite good (except for a bit where exposition bogs things down) and particularly handy with misdirection.  Jose Ignacio also reviews it, calling it a classic police procedural that is somewhat uneven in its execution.

And finally, Margot Kinberg takes a close look at Irene Huss, Helene Tursten’s series protagonist, providing quite a thorough biography of the character, one of my favorites.

Before I sign off, I must give credit once again to the place where I keep up with all things mysterious, the Crime and Mystery Fiction FriendFeed room. Many thanks to its founder, Maxine Clarke, and its regular contributors for filling me in. If you enjoy mysteries, this is a site to visit regularly.

More Reviews and Some New Writers on the Scene

Jan Wallentin is a newly translated author who undergoes torture at the Guardian where reviewer John O’Connell describes Strindberg’s Star (published in 2010 and apparently popular in Europe) as “post-Da Vinci Code assemblage of ancient artefacts, Norse myth, nazism, travelogue and secret societies.” He  finds the characters “almost as preposterous as the plot” and he’s not enthusiastic about the translation, either.

The site Crime Fiction Lover lives up to its name by loving it, however, saying it’s dark, unsettling, and compelling.

Glenn Harper reviews Ake Edwardson’s Sail of Stone and does a remarkable job of describing why he likes this author’s style so much. Since I have always had trouble describing Edwardson’s very particular style, I can’t resist quoting him:

The two stories hardly seem weighty enough for a crime novel, despite the considerable parallels between them, but in Edwardsson’s hands there is considerable tension and forward motion, as well as a pair of unconventional climaxes. A good deal of the novel is carried forward in oblique dialogue that’s frequently comic in its indirectness. Along the way there’s considerable discussion of music (Erik is a jazz fanatic who doesn’t care about any other music, while the other detectives have their own soundtracks) and vivid evocations of Göteborg/Gothenburg in Sweden and Scotland from Aberdeen to Inverness. We also get lively glimpses of Erik’s and Aneta’s private lives, without descending into soap opera.

Edwardsson is one of the best writers in the Swedish crime wave.

And I will add that Harper is one of the best reviewers.

He’s been quicker than I am to review one of the new Stockholm Text books, Anna Jansson’s Killer’s Island. He wasn’t taken with the writing style, but found it improved as the book went on. It has the same setting as Mari Jungstedt’s series and a preoccupation with personal lives of the characters that reminds him of Camilla Lackberg. He recommends the television series based on these books if you are lucky enough to catch it .

Philip at To Be Read … reviews one of my TBR books, The Murder of Halland by Danish author Pia Juul. Though it is fiction that includes a crime, he wonders whether it’s a mistake to consider it crime fiction as it is circuitous and more of a literary approach to a woman’s trauma than the sort of plot-oriented investigation crime fiction fans anticipate. I guess I will find out in due course how I come down on this issue. The review itself is intriguing, so I hope to enjoy an intriguing novel, whatever its genre.

He also reviews Stefan Tegenfalk’s Anger Mode, which sounds like a great deal of intelligent fun.

Bill Selnes reviews Helene Tursten’s Detective Inspector Huss at Mysteries and More and is eager to read more in the series. (So am I!)

Norm at Crimescraps enjoyed Jo Nesbo’sPhantom, but thinks (having set himself a very high bar) it’s not the author’s best. It does sound like quite a detailed ethnography of drug addition in a large European city, as well the development of Harry Hole’s paternal side.

He also reviews Hakan Nesser’s Hour of the Wolf, a Van Veeteren series book that won the Glass Key in 2000. He recommends it highly. Jose Ignacio also gives it high marks at The Game’s Afoot. Even though I’ve not yet read this book, I wholeheartedly agree with one line of the review: “Reading becomes an addiction.”

Margot Kinberg puts Camilla Lackberg’s The Ice Princess under the spotlight – particularly focusing on the small town setting and how that affects the story.

W. J. H. Read reviews Lief G. W. Persson’s Another Life, Another Time at I Love a Mystery, saying it is “compelling, suspenseful and at times very funny,” recommending it highly. In general, this seems to be a more accessible book than the first in the series. It also confirms that the author likes long titles.

Fleur Fisher (aka Jane) thought very highly of the book, and does an excellent job of explaining why, summing up by saying “I was impressed by the tightness of the plotting, and that though the story was complex it was not at all difficult to follow … I was held from beginning to end, by a very capable piece of crime writing, set in a very real and wonderfully evoked world.”

Kimbofo is favorably inclined toward Arnaldur Indridason’s Outrage, finding the focus on Elinborg rather than the usual protagonist, Erlendur, more pleasing than she expected and pointing out that it wouldn’t be a bad place for readers new to the series to start. Maxine in the comments points out that the next in the series, Black Skies, takes place during the same period of time and focuses on Sigurder Oli who makes a more interesting protagonist than expected.

Book Geeks reviews Yrsa Sigurdardottir’s The Day is Dark, finding it solid, but not exceptional, with many interesting features but pacing that is . . . oh, no, I feel a terrible pun coming on, given it’s largely set in Greenland. Never mind.

In the most recent issue of Swedish Book Review, Paul O’Mahoney offers a translated snippet from Kjell Westo’s novel, Don’t Go Out Alone Into the Night. Westo is known to crime fiction readers as the author of the psychologically suspenseful novel Lang. This issue also reviews new fiction in Swedish, including a novel by Johann Theorin, Sankta Psycho, that is not set on the island of Oland, but rather takes place in a psychiatric facility connected to a preschool (!). Marlaine Delargy is translating this book which will be titled in English, The Asylum.

If you’d like to learn more about Eva Gabrielsson’s relationship with Stieg Larsson, she was interviewed on WHYY’s Fresh Air program. I realize many of you would prefer not to.

Mrs. Peabody investigates Harri Nykanen’s Nights of Awe. She wasn’t all that impressed by the convoluted plot, but really liked the way the Jewish-Finnish lead character was developed.

Sarah at Crime Pieces reviews Asa Larsson’s The Black Path, which (confusingly) has just been published in the UK, though it precedes Until Thy Wrath be Past.  She feels it’s quite good, but the backstory gets rather heavy-handed and the ending “out of proportion with the rest of the narrative,” which means our feelings are practically identical. I do like this series, though, even when it’s not at its top form.

She also has an excellent essay on how the Sjowall and Wahloo novel The Man on the Balcony and Marco Vichi’s Death and the Olive Grove manage to deal with a difficult topic – abuse and murder of children – without the usual missteps, but rather with insight and understated respect.

And carrying on with Scandinavian crime, she reviews Thomas Enger’s Burned, which she picked up after hearing the author speak at CrimeFest. She thought it was very good, particularly for its depiction of the non-stop contemporary news business. (I liked that part, too.)

Good grief. The New York Times has had some silly ledes lately (“Men invented the internet” for example, “Men with pocket protectors” and with powers that make them invisible to fact checkers and skeptical editors) but it’s nevertheless a bit embarrassing to have them tell us “Norway has Noir” as if it’s, you know, news or something. Jo Nesbo spoke at Book Expo America. He was pretty funny, according to my Twitter informants. The Gray Lady should perhaps pay more attention.

Kerrie reviews Johan Theorin’s The Quarry, which she gave high marks. (I did, too.) Another book she has reviewed recently is Next of Kin by Danish author Elsabeth Egholm, whose sleuth is a journalist. Kerrie recommends it as a good read.

Mons Kallentoft’s second book in English, Summertime Death, gets Sarah’s attention at Crimepieces. She praises his writing style and found most of the book well-paced, except toward the end. It sounds a bit “once more with feeling” but still a good one – though Sarah hopes he’ll try for more variety in future books. The book is also reviewed favorably in the New Zealand Listener, where Bernard Carpinter declares it “complex and excellent.”

Kerrie adds another thumbs up to the general praise for Jorn Lier Horst’s Norwegian police procedural,Dregs. How about translations of the entire series? And a US release, while I’m being demanding? She had a bit of trouble getting into Anne Holt’s The Final Murder, but once into the swing of things enjoyed the Stubo/Vik story. Incidentally, Holt’s 1222 has just been nominated for a Macavity award, with the winners to be announced at Bouchercon this coming October.

Speaking of CrimeFest, Karen of Euro Crime did some wonderful on-the-fly reporting, including a detailed report from Death in a Cold Climate – a panel moderated by Barry Forshaw featuring Asa Larsson, Thomas Enger, Ragnar Jonasson (sadly, not yet translated into English), and Gunnar Staalesen, as well as Roslund and Hellstrom interviewed by Janet Laurence.

I should take this opportunity to thank Karen and her partners in crime reviewing. The Euro Crime site now has 2,303 reviews, bibliographies for 1,793 authors, and information about close to 10,000 books. That’s an awesome achievement, and all done for love.

A Scandinavian Tour in Reviews

It has been a month since I made the rounds to see what has been reviewed lately. I thought I’d better organize them somehow, so have listed them by country. Sweden, I’m afraid, gets the lion’s share of attention. My Norwegian grandfather could have predicted that.

Finland

Bernadette reviews Harri Nykanen’s Nights of Awe, finding the lead character intriguing but the plot a bit too Hollywood.

Peter Rozovsky also reviews it for the Philadelphia Inquirer and also questions the plausibility of the story, but enjoys Nykanen’s wry humor.

I am looking forward to getting my hands on a new translation of one of the Raid novels, also by Harri Nykanen, as well as Seppo Jokinen’s Wolves and Angels, which will be coming out next month from Ice Cold Crime. It’s always wonderful to have authors leave my “wanted” page once they are published in English translation.

Iceland

The Day is Dark by Yrsa Sigurdardotter was a bit slow for Sarah Hilary’s tastes, writing at Reviewing the Evidence, with an interesting take on masculinity but, she feels, too much exposition that slows momentum.

At the San Francsico Chronicle’s book blog, P.G. Koch finds Yrsa’s Ashes to Dust an intricately plotted thriller with the thought processes of an anorexic woman particularly chilling. Kirkus also gives the book a strong review.

Norway

Kerrie reviews Jo Nesbo’s The Phantom, which she finds bleaker and darker than previous Harry Hole books. She writes, “an interestingly structured, but very noir book, with the dominant narrator a boy who is already dead. And a rat with a problem.” I would add, a review that intrigues.

Mary Whipple also reviews The Phantom, finding it complex, full of plot twists, at times over the top, but certain to appeal to fans of the Harry Hole series as it builds on all the groundwork the author has laid in creating his brilliant and troubled hero.

And to round it out, Maxine reviews it at Petrona, finding Hole a bit too much of a superman, able to leap implausibilities with a single cinematic bound, but praises the book for its compelling and relatively uncluttered plot and what it has to say about the wages of addiction.

Kerrie gives Karin Fossum’s The Caller top marks and reckons that if you haven’t read any of the Konrad Sejer series before, this is a grand place to start.

Margot Kinberg puts Fossum’s Don’t Look Back “in the spotlight” finding it an unsettling and realistic depiction of the effects of a tragedy on a small community.

Sweden

Vicky Albritton takes a fascinating look back at an early crime novel, Hjalmar Söderberg’s Doctor Glas, a 1905 novel about science, sexuality, and an ethical bind created when a woman tries to escape the sexual oppression of her odious husband. Albritton mentions that a 2002 edition of the English translation has an introduction by Margaret Atwood,  an excerpt of which was published in The Guardian. She wrote, “Doctor Glas is one of those marvellous books that appears as fresh and vivid now as on the day it was published.”

Closer to the present time, Sjowall and Wahloo’s Martin Beck series is tempting Sarah at Crimepieces to drop everything and read. She reviews the 1966 novel, The Man Who Went Up in Smoke, in which Beck travels to Hungary in search of a missing journalist.

At Euro Crime, Rich Westwood reviews Camilla Lackberg’s The Stranger which is a new title for the previously-published Gallows Bird. He thinks the domestic bits are more convincing than the murder bits and prefers the original title.

Bernadette found Lackberg’s The Drowning disappointing, with a predictable plot that was not as interesting as in previous books, the cozy domestic scenes and ho-hum mystery formulaic. Since she has enjoyed other books in the series, she hopes this is a temporary aberration.

Sarah reviews Camilla Ceder’s Frozen Moment at Crimepieces, saying it was “a very interesting, albeit slow read where the isolated, icy community dominated the narrative descriptions.” It seems a good sign that the story stayed with her long after she put the book down.

She also reviews Hakan Nesser’s Hour of the Wolf, a very good entry in the series in her estimation in which a drunk driving incident triggers a string of violent acts. Though the wry humor of the series is not as much in evidence as usual, the tone is appropriate for the events of the story.

Nancy O tries to find nice things to say about She’s Never Coming Back by Hans Koppel, but dealing with a story that involves an imprisoned woman and repeated sexual assault is an uphill battle that ends up with an exasperated “jeez!  Enough already.” Or perhaps way too much.

Leif G. W. Persson’s Between Summer’s Longing and Winter’s End gets a mixed review at To Be Read . . . as character development and pacing takes a back seat to its broad canvas examination of Sweden’s recent history, though the reviewer finds it on the whole successful.

Shannon Sharpe thinks Persson’s approach to complex plotting with unsavory characters and lashings of dark humor lifts the novel far above the more popular Millennium Trilogy.

Laura Root reviews the next book in the series at Euro Crime. Another Time, Another Life is a complex and skillfully crafted novel with a dry narrative style and characters that are more sympathetic than those in the first book.

At Nordic Bookblog, Peter reviews Liza Marklund’s Vanished (previously published in a different translation under the title Paradise. He recommends it as a fast-paced story with an intriguing lead.

BookGeeks reviews Dark Angel by Mari Jungstedt, finding it “a well written and superbly plotted mystery” that does a good job balancing thriller elements and social background.

The Local (Sweden’s News in English) has a profile of defense lawyer Jens Lapidus, whose trilogy beginning with Easy Money focuses on the lives of criminals.  He is particularly interested in the parts of Stockholm where the residents are not blond and blue-eyed and in the perspective of people for whom crime is just another line of work.

In a review of Easy Money at Reviewing the Evidence, Chris Roberts calls it “a remarkably accomplished debut,” with a well-paced plot but characters who are not easy to like.

Peter of Nordic Bookblog reviews Ake Edwardson’s Sail of Stone, which he feels is an excellent entry in the excellent series, particularly strong for character development and writing style.

I also reviewed the book at Reviewing the Evidence. If you’re looking for fast-paced action and a tightly woven mystery to solve, look elsewhere. But if you can take the scenic route, this well-written and well-translated novel might fit the bill. I agree with Peter that “character study” is an apt description of Edwardson’s style.

Lotsa Links

 

 

Oh, my – what a lot of links have been collecting in my inbox since I last rounded up reviews and articles.

 

Peter reviews The Gallows Bird, the fourth book in Camilla Lackberg’s series set in picturesque Fjällbacka, and finds it’s satisfying, if not the best in the series. He also has a look at The Tattooed Girl, a collection of essays about the Millennium Trilogy which turns out to be more interesting than it looks at first glance, being put together by someone who previously revealed the secrets of Dan Brown for obsessives who can’t get enough of their favorite books. (I am reviewing this for Reviewing the Evidence; I agree with Peter, it looked awful but has some interesting material.)

Writing in the Saudi Gazette, Susanna Tarbush reads Jussi Adler-Olsen’s Mercy with particular interest in the Syrian immigrant who becomes the hero’s assistant, Assad.

Keith of Books and Writers found Kari Vaara, hero of James Thompson’s Snow Angels, a compelling protagonist that he hopes to see more of.

Maddy Van Hertbruggen reviews K.O.Dahl’s The Last Fix for Reviewing the Evidence and finds it well-plotted and engaging.

Keith Walters at Books and Writers likes Karin Alvtegen’s Missing and mentions there’s a film adaptation.

Jose Ignacio Escribano reviews Johann Theorin’s Echoes from the Dead – bilingually!

Keishon reviews Jo Nesbo’s The Redeemer and makes it sound so good that several commenters indicate they’ll be including Nesbo in their future reading.  (Good call, by the way.)

At Bookgasm, Mark Rose is not impressed by Lars Keppler’s The Hypnotist.

Nor is Bernadette by Roslund and Hellstrom’s Three Seconds, which she reckons would be more accurately titled 56,820 seconds. Score! (I admit, I also found the first half very slow going, and had trouble finding any characters who were sympathetic. It picked up in the second half, but likeable characters were still thin on the ground. I liked Box 21 a great deal more.)

A blogger named Susan has coined a new sub-genre: Snoir, featuring dark themes in a cold and icy setting.  Brrr.

There’s an interesting comparison of translations at To Be Read in two parts, comparing the first English translation of Liza Marklund’s Studio Sex (Studio 69) with a new one by Neil Smith, now titled Exposed. It’s quite surprising to see the variations alongside the original Swedish.

Swedish Book Review takes a look at the last Erik Winter novel, titled appropriately Den sista vintern (The Final Winter). Though Ake Edwardson has said in interviews that he is turning away from crime fiction, the reviewer, Irene Scobbie, hopes he will be tempted to continue writing about a newly-introduced character who could carry further stories.

Also in Swedish Book Review, Tom Geddes reviews Björn Larsson’s Döda poeter skriver inte kriminalromaner (Dead Poets Can’t Write Crime Fiction), a spoof on the popularity of crime fiction, including a book within the book with the title The Man Who Hated the Rich.

At the site you will also find a review of Johann Theorin’s next book, The Quarry, somewhat unusually written by Theorin’s English translator, as well as reviews of new books by Camilla Ceder and Lief G.W. Persson.

A Work in Progress reviews Camilla Ceder’s Frozen Moment and considers Ceder a writer to watch.

Maxine Clarke reports at Euro Crime that she very much enjoyed Mari Jungstedt’s The Dead of Summer, fifth in the author’s Gotland-set series. Norm also liked it quite a lot.

She wasn’t as enthusiastic about Danish author Sissel-Jo Gazan’s first foray into English translation, The Dinosaur Feather, which suffers from a surfeit of backstory but picks up in the final 200 pages.

A blogger who is reading a book a week has mixed feelings about Henning Mankell’s The White Lioness, which has interesting things to say about race and politics but strays far afield from the main character.

Kim Forrester (Kimbofo) thinks Mercy by Jussi Adler-Olsen, is terrific. Norm is hoping the translator is hard at work on more in the series.  Rob Kitchen also reviews the first of the Department Q series and concludes that, though it’s melodramatic and implausible in places, it’s generally a good read and just the job before a trip to Denmark. And Ali Karim, our enterprising super-fan, is interviewed at Pulp Pusher about Mercy and other books that he is excited about.

Rob also reviews Leif Davidsen’s The Serbian Dane, which he feels has good character development but not much tension.

Mrs. Peabody thinks there’s a touch of melodrama in Karin Alvtegen’s Shadow but nevertheless recommends it.

Leslie Gilbert Elman gives Camilla Lackberg a strong endorsement, recommending her to readers whose only exposure to Scandinavian crime fiction is through Stieg Larsson, whose work she doesn’t admire.

Susan White enjoyed Henning Mankell’s The Man from Beijing, now out in paperback, and reviews it for Euro Crime, where Maxine Clarke also reviews Jan Costin Wagner’s Finnish-set Winter of the Lions, recommending it for those who have already read and enjoyed Ice Moon. Mrs. Peabody fills in the gaps by reviewing the middle book in the series, Wagner’s Silence, and rates it very highly.

Darrel Squires recommends The Snowman to readers in Newfoundland and Labrador, calling it a good choice for “fans of dark, atmospheric crime fiction.” The Winnipeg Free Press reports Nesbo as “a bit annoyed” at being compared to Larsson on the cover of his latest book because he thinks their styles are different. (Also, he’s not Swedish – but I’m being picky.) And in the U.S., the Fredricksburg (Virginia) Free-Lance Star has a short and positive review of The Snowman.

Carrying this comparative nonsense to its logical extreme, The Mark proclaims Norwegian fiction is the new Swedish fiction. This is actually just a way to introduce a short video interview with Nesbo, who doesn’t say anything you don’t already know, except that Norway has a lot of serial killers (said with a straight face).

NancyO has lots of praise for Nesbo’s The Leopard, though some of it is over the top and other parts are slow-moving (“to the point where you think you might be trying to crawl through jello”). Still, she rates it her favorite in the series.

Wendy Lasser wrote at length about Nesbo at Slate a month ago. She opens her essay with speculations about the overall excellence of Scandinavian crime fiction and the way it combines cat-and-mouse detection with social critique and proposes some possible reasons for the Nordic countries’ high crime fiction rate:

Perhaps we can attribute this in part to the small size of these far northern countries, their relatively homogenous populations, their stable cultural traditions—a setting, in short, in which murders (and especially serial murders) stand out starkly and beg for analysis. Or maybe this wider focus is connected to the firmly if mildly socialist perspective of even the most conservative Scandinavian governments, a view in which individual behavior contributes to or detracts from the public welfare. Possibly the dark, cold, long winters also have a role: With those extreme alternations between everlasting night and midnight sun, the Swedes, Danes, and Norwegians may be more likely than the rest of us to reflect on the role of environment in shaping character. The citizens of these countries also seem unusually alert to their own national pasts (unlike Americans, say, for whom the mid-twentieth-century is already History), and this in turn makes them more likely to seek cause and effect in these collective historical influences. In any event, what all these factors add up to is a worldview that places the criminal at the center of a social web. This is not necessarily what makes Scandinavian mysteries addictive—that can probably be attributed to the typical thriller qualities of suspense and surprise—but it is what makes them remarkably satisfying.

She goes on to discuss the Harry Hole series and concludes that while his latest novels are compelling and fun, they are more focused on furiously-paced fun than on developing a solid story. Commenting on The Leopard, Lasser speculates that Hole’s multiple near-death experiences bespeak the author’s wish to kill him off, and “the increasingly ludicrous violence makes the plot seem like something made for TV.”

I haven’t read The Leopard yet, but I tend to see the same trajectory, finding both The Devil’s Star and The Snowman as less rewarding than the earlier books in the series, though it seems a large number of readers feel the opposite and enjoy the recent books the most.

Metro has a short interview with Henning Mankell; the most interesting bit is that he once lived in an unfurnished flat and sat on the floor, using his oven door as a desk (and the oven light as a desk lamp); that’s rather clever. Ikea should look into it.

Rick Salutin of the Toronto Star thinks about Canadian politics from a Scandinavian crime perspective – seeing a willingness to examine society, not just individual culpability.

Norm considers the features of a newly-named species, the Scandi-book fan, of the genus Chattering Classes.

The Hollywood Reporter covers the presence of three directors from Nordic countries at the Cannes film festival – all with films in non-Nordic languages. It’s not just book labels touting the Next Stieg Larsson: “Post-Millennium, everyone is hunting for the next big Nordic crime franchise.” Oh dear.

Pan Macmillan has bought rights to a novelization of the popular television series, The Killing.

And speaking of Denmark, the Copenhagen Post has a profile of several Danish writers whose work will be released in the US this year – Jussi Adler-Olsen (whose Department Q kick-off will be called The Keeper of Lost Causes in the U.S. instead of the British title Mercy; it will appear in the US in August), Sara Blædel (Call Me Princess, also in August) and the co-authors Lene Kaaberbøl and Agnete Friis (The Boy in the Suitcase, to be released in November).

Sarah Weinman has written a surprising and rather scandalous profile of Niclas Salomonsson, the incredibly young agent to most of the biggest names in Scandinavian crime fiction. Like the sordid family squabble over Stieg Larsson’s fortune, it seems particularly shocking for Sweden. You couldn’t make this stuff up – though many of his clients do something fairly close.

criminal conversations

A new website, The Crime House, offers English-language readers a peek into Scandinavian and international crime. In its “about” section it describes itself as “a spinoff to the Swedish website Deckarhuset.se.” Fair warning: this site may induce longing for books that are not yet in English translation.

There’s a thoughtful review and interesting discussion at Open Letters Monthly, where Rohan Maitzen examines her not-impressed reaction to Henning Mankell’s Faceless Killers. She argues that genre writers shouldn’t be let off the hook if their prose is clunky. I agree – I think, though I might not agree on how to define “good prose” in genre fiction, which is often good because it fades away and lets the characters and plot take center stage. (I was caught short when she called Ian Rankin’s last three novels are “‘condition of England’ novels” given they are not set in England, but I see that she is referring to a type of 19th century social novel.) As a reader I am not personally a huge fan of the Wallander series, but I wouldn’t hold up P.D. James and Elizabeth George as better examples of the genre if only because I find James a bit reactionary and Victorian in her attitudes and George as long-winded and completely inauthentic. Rankin – yes, I think he offers an apt comparison and is a writer I enjoy reading more than Mankell, probably because of his prose style and the glints of humor.

Heads up: This new book, part of a European Crime Fictions series, is now available. I happen to have a copy and plan to review it here before long. As an aside, I think the press release deserves a “bad pun” award. Here’s a bit of description:

Focusing on Scandinavian crime fiction’s snowballing prominence since the 1990s, articles home in on the transformation of the genre’s social criticism, study the significance of cultural and geographical place in the tradition, and analyze the cultural politics of crime fiction, including struggles over gender equity, sexuality, ethnicity, history, and the fate of the welfare state. The text maps out the contribution of Scandinavian crime writers to contemporary European culture and society, making the volume valuable to scholars and the interested public.

Kerrie reviews Ake Edwardson’s Frozen Tracks from her perch in paradise, a complex double-barreled serial killer investigation that doesn’t quite come together in the end. Being the busy reviewer she is, she also gives her take on Roslund and Hellstrom’s Three Seconds and, like me, found the beginning a bit difficult to get into but the second half gripping. Final verdict: clever, authentic, and credible.

She also reviews Arnaldur Indridason’s 1999 stand-alone thriller, Operation Napoleon. Not as good as the Erlendur series and a bit old-fashioned, but with a strong female lead and interesting commentary on the US military presence in Iceland.

Speaking of Iceland, Yrsa Sigurdardottir will be the guest at the next Nordic Noir Book Club event, March 17th. She is utterly charming, so it’s not to be missed. Unless, like me, you’re not going to be in London that day. Bummer.

At International Noir, Glenn Harper reviews The Inspector and Silence, another recommended novel in Hakan Nesser’s offbeat and accomplished Van Veeteren series.

Ignacio Escribano reviews Liza Marklund’s Red Wolf, finding the plot hard to swallow and the heroine’s personal life hard to take.

And for this post’s final note, Eva Gabrielsson has written a book and wants to finish another one. Slate offers a review of her memoir which will be published in English translation by Seven Stories in June with the title “There Are Things I Want You to Know” about Stieg Larsson and Me. I will reserve judgment for now about how much I actually want to know. If anything.

so many books…

Norm (aka Uriah) reviews Red Wolf by Liza Marklund, a follow-up to The Bomber that has finally been translated. He thinks, like Maxine, that if anyone deserves the “next” nod following the Larsson success, it’s Marklund.

Norm also turns to the Martin Beck series for a pick-me-up and describes the pleasure of reading Murder at the Savoy. A quote he provides to illustrate the rule that one needs a good plot, a solid cast, and descriptions of food is making me very hungry.

Glenn Harper reviews Camilla Lackberg’s The Stonecutter and concludes that, though she is not his favorite Swedish writer, it’s well constructed, with a nice contrast between the “cozy” setting and the dark storyline.

Jose Ignacio wonders which of his Scandinavian crime fiction books to read next. The general consensus seems to be “read them all.”

Maxine reviews Harri Nykanen’s Raid and the Blackest Sheep which is now available in the UK as a Kindle e-book. She enjoyed it very much, particularly the police side of the story, though Raid is a trifle superhuman (yet still likeable).

Bev Vincent reviews the extra volume tucked into the Millennium Trilogy boxed set coming out from Knopf in time for Christmas, which appears to have some interesting material from his publisher, an editor (including e-mail exchanges between Larsson and her), and a friend and co-worker who knew him well. Only 96 pages, but worth a read. Apparently Larsson took well to being edited, only insisting on keeping the original title for the first volume, Men Who Hate Women.

In an interview with the director of the Swedish films of the trilogy, Niels Arden Oplev discusses the appeal of Lisbeth Salander.

When we screened it for the first time, during the scene where Lisbeth gets raped, you could hear a pin drop in the theater. Then when she goes and rapes him back, I swear to God it was like being in the stadium when Denmark scored in the World Cup. I didn’t know that many women could whistle like that. It was a war cry.

Mary Bor, one of the Curious Book Fans, raves about Three Seconds by Anders Roslund and Borge Hellstrom, writing “neither fine writing nor solid characterisation have been sacrificed to make room for hard-hitting authenticity. The action is at times painful but always compelling; the sense of drama is superb.”

Maxine Clarke enjoyed K.O. Dahl’s The Man in the Window, which like many Norwegian novels revisits Norway’s past under German occupation. She gives the translator, Don Bartlett, high marks, too.

Translator K. E. Semmel interviews Ake Edwardson for “Art and Literature,” a blog associated with Raleigh’s Metro Magazine. It’s a good interview, which includes this:

You know, there is not any genre but crime fiction where anybody anywhere can stand up and generalize and say anything, “crime fiction is this, crime fiction is that”… Everything put into the same mass grave. A lack of nuanced perspective.

Having said that, I do believe there are a lot of bad and cynical crime writers out there who are only in it for the money. To hell with them. I have written 20 books of fiction, roughly half of them crime novels, and I will say that writing a good crime novel is about the hardest thing. It’s not in the first place the plot, though a crime novel is about the last epic still standing in contemporary fiction. No, the challenge is about the attitude of the writer: Why am I writing this, why am I writing about crime, how am I writing? You know, if the writer doesn’t put in a sound of empathy and humanism in the story, then it will only become cynical and cold entertainment . . . the simple way of the absolute and excessive evil, where the writer doesn’t take any responsibility for the writing . . . I have spent all my writing years contemplating evil, and one thing I do know is that it isn’t something in its own, like a “thing.” It is very complex behavior, and it always has to do with humans, with people. Nuances. The overall “truth” of my crime novels is that you can never escape the shadows of your past; they will track you down wherever you hide. And it’s all about human behavior.

Right now there is a kind of Klondyke-like flood of crime writing and novels around, especially from Scandinavia, and I can only hope that readers will find the good stuff and that the bad stuff will fall to the ground and turn to dust and blow away in the wind.

more reviews and some thoughts on place

Peter Rozovsky connects the dots between John Connelly, James Lee Burke, and Arnaldur Indridason, then collects some suggestions for writers who evoke a strong sense of place.

Norm (aka Uriah) has some fascinating things to say about Leif G.W. Persson’s massive novel, Between Summer’s Longing and Winter’s End. I am grateful to him for reading and analyzing the  good points and the bad in his review (because I gave up on it, but am still very curious about it -tack så mycket.)

Glenn Harper thinks Ake Edwardson’s The Shadow Woman is a terrific novel. I agree – though it’s slow and circular and I’m not crazy about Winter as a character, I though it was thought-provoking. Glenn does have a plot point quibble, but his overall verdict is positive.

Two books about Stieg Larsson are reviewed in Ireland’s The Post. The reviewer finds Kurdo Baksi’s memoir self-serving and not particularly kind to Larsson; but she gives Afterword, a collection of essays by fellow journalists that is included in the new boxed set of the Millennium Trilogy, high marks.

Captain April reviews The Girl Who Kicked the Hornet’s Nest. One of the things she liked about it was that she wasn’t sure whether it would have a happy ending or not – and she wasn’t sure what sort of ending she would prefer. She also finds Salander fascinating and likes her working partnership with Blomqvist.

And Norm (aka Uriah) is reading Liza Marklund’s Red Wolf and making it sound very tempting indeed. Apparently both this book and to some extent Mankell’s The Man from Beijing deal with the fling that Westerners have had with extreme ideologies. There’s also a bit about the Swedish covers that is interesting. (Is that really the author on the covers? Yes, she is attractive, but appearing as part of your books seems a peculiar mix of postmodernism and merely modern branding.)