an update – with a little help from my friends

Jane at the Madison (Wisconsin) public library reviews Jussi Olsen-Adler’s Keeper of Lost Causes (published as Mercy in the UK) and says it’s “a suspenseful, sometimes darkly funny, mystery thriller that is my number one book so far this year.”

Shelf Awareness dedicates an issue of its “maximum shelf” to it as well.

NancyO reviews Arnaldur Indridason’s Outrage, finding it a good addition to the series though, with its focus on Elinborg as the detective this time, she finds the domestic bits a tad overdone.

She also reviews Arne Dahl’s Misterioso, and recommends it, though it won’t deliver edge-of-the-seat thrills so much as solidly-assembled ensemble procedural work conducted by a large cast of police. She plans to read as many in the series as she can, though it has taken ages for this first English translation to actually appear.

Glenn Harper is not mesmerized by Lars Kepler’s The Hypnotist.

Peter, on the other hand, is enthusiastic about Asa Larsson’s Until Thy Wrath Be Past, the fourth book in her series about lawyer Rebecka Martinsson and Inspector Anna-Maria Mella. It also gets a thumbs up at The Bookbag, which says it’s “not strictly a police procedural, as we know pretty much what has happened from early on, but more of a psychological thriller and an intriguing mystery as to why two young people died.”

There’s an interview with Asa Larsson in The West Australian, in which she says her own past not only involves growing up in Kiruna and being a lawyer, like Rebecka Martinsson, but also a period of time involved with a fundamentalist church, which is interesting in view of the themes of her first two books.

He also gives Jarkko Sipila’s Nothing but the Truth high marks, saying it is “a very entertaining, suspenseful and excellently plotted crime fiction novel” that raises important questions about the role citizens play in criminal justice. I just recently finished this myself, and agree – review to follow soon.

Jose Ignacio Escribano thinks that Karin Fossum’s Bad Intentions is not the best of her books, but still worth a read, being disturbing, intense, and intelligent.

He also gives Arnaldur Indridason’s Voices high marks for being humane and well-written, as well as complex, dealing with the theme of stolen childhood sensitively.

Karen Meek reviews the audio version of Camilla Lackberg’s The Gallows Bird, which she feels has a rather disappointingly hole-prone plot but is nevertheless an entertaining story, nicely narrated by Eammon Riley.

Maxine Clarke thinks very highly of Johan Theorin’s third book in the Oland quartet, The Quarry, which is no doubt going to be a strong contender for the CWA’s International Dagger.

Quentin Bates has lived in Iceland, but is not an Icelander, yet makes it his fictional home. Crimeficreader (Rhian Davies) enjoyed his mystery, Frozen Out, particularly enjoying the strong female lead, ‘Gunna’ Gunnhildur Gisládottir.

Dorte Hummelshøj Jakobsen traveled in the opposite direction; this Danish author’s ebook mystery, The Cosy Knave, is set in Yorkshire, and has been discussed by two Australian readers, Kerrie and Bernadette, who has been in on the mystery from the start.

Bernadette also reviews Thomas Enger’s Burned, a “solid debut” that didn’t have its plot entirely under control, but has strong characters, even those that are not at all likeable.

Rohan Maitzen has a nice essay on the Martin Beck series and how it challenges those who persist in thinking crime fiction is good only when it “transcends the genre.”

Despite the persistent assumption that some literary forms are inherently more formulaic than others, all writing relies on genre markers, and “genre” itself is a notoriously unstable term, invoking categories that are both permeable and endlessly mutable. The real issue — the critical issue — is how form is used, what it enables us to discover. We shouldn’t ask whether crime fiction needs to transcend its traditional forms, but rather how those forms have evolved, and what they have made possible. . . . Sjöwall and Wahlöö are among those who show that, in the hands of visionary and capable writers, crime fiction can simply be great literature. The only transcendence required is the reader’s.

Norm and the new translator of the Annika Bengtzon series untangle the series order for us. It’s a bit unusual for a publisher to spring for all new translations of a previously translated work, unless you are Tolstoy. But, to stick to publishing tradition, they are giving books new titles to make it all more exciting to shop and are keeping the US and UK publications out of sync. Good to know they aren’t breaking all the rules.

Looks as if Leif G. W. Persson’s series about Evert Backstrom is destined for the American small screen.

Peter Rozovsky, always on the lookout for humor, finds some in Three Seconds. He also notes a lot of border-crossing going on in Swedish crime fiction that harkens back to the old days of the Hanseatic League.

Laura DeMarco rounds up lots of Scandinavian crime at the Cleveland Plain Dealer in a nicely detailed piece, with a sidebar on “ten essential authors.”

And finally, I’ve mentioned it before but I owe the Crime & Mystery Fiction friendfeed group, founded by Maxine Clarke, an enormous debt for finding and commenting on so many fascinating links related to the genre. Not only is it a good place to find out what’s going on, it’s inhabited by charming and well-read fans of the genre.

notes from the “stormakstiden”

The dust is just starting to settle on the whirlwind that is the semester’s start, so am taking a deep breath and combing through my alerts and blog feeds to see what I’ve been missing . . .

Quite a lot!

Ali Karim has a two part interview with Swedish authors Anders Rosland and Börge Hellström at The Rap Sheet – part one and part two. They have this to say about the climate for the genre:

Swedish publishers have for many years nurtured and treated crime fiction as a strong, independent genre … We share this ethos that the crime-fiction genre is not just “pulp.” The best crime fiction’s duty is to entertain and tell a good story, but [it should also be] imbued with knowledge and question what we see around us.

Writing crime fiction is something that we take very seriously and put our whole hearts into; it is, and should be, just as difficult and demanding as writing any other kind of novel … And when you see it like that, and those around you recognize that genre fiction is as relevant (and important) as literary fiction, then good results are entirely possible. And of course it helps that as Scandinavians, we have so much darkness, so many long dark nights, snow and cold, lack of daylight, that actually the environment is conducive to crime fiction.

In Publishing Perpectives, Lasse Winkler offers an appreciation of how Stieg Larsson’s success has provided entree to US markets for Swedish genre writers and mentions how much Swedish publishers are culling their lists, publishing more domestic crime fiction and less in translation.

Norm (aka Uriah) reckons this might just be a “stormakstiden” – a golden age for crime fiction that we might in future find dominated by Scandinavian authors.

The British version of Wallander is running in its second season on PBS in the US, and I am woefully late in letting folks know. Janet Rudolph was not so tardy in her appreciation. Kenneth Branagh speaks about his role in an interview.  Keep watching Sunday evenings between October 3 – October 17.

Bernadette has finished the Scandinavian crime fiction challenge launched by Black Sheep Dancing, and has a handy set of links to her reviews, the most recent of which is of Jo Nesbo’s The Redbreast.

Geoffrey McNab interviews Henning Mankell for the Dublin Herald.

An interview with Camilla Lackberg is available at the Explore West Sweden blog. (And oh, yes, I would like to explore west Sweden.)

Glenn Harper reviews the television version of the Irene Huss series by Helene Tursten – and in the comments, there is the very good news that Soho will be publishing more of the series – yippee!

And on to reviews:

Maxine reviews Silence by Jan Costin Wagner, a German writer who lives and writes about Finland. She finds it “quietly compelling” and helpfully links to reviews by Karen Meek at Euro Crime and Norm at Crime Scraps.

Bookaholic of the Boston Book Bums reviews Yrsa Sigurdardottir’s Last Rituals, “a quick read that blended the macabre with the academic.”

Martin Shaw, a bookseller in Australia, reviews Anders Rosland and Börge Hellström’s Three Seconds and calls it “stellar.”

Karen Meek reviews Postcard Killers, the collaboration between James Patterson and Liza Marklund, which has the trademarked pace uninterrupted by social commentary or much about Sweden that couldn’t fit on a . . . well, a postcard.

Carly Waito has good things to say about Maj Sjöwall and Per Wahlöö’s Martin Beck series and has a lovely photo of them, too.

Karen Russell of How Mysterious! reviews Karin Fossum’s Don’t Look Back, which she decided would be the first of many Fossums she would like to read.

Peter reviews Camilla Ceder’s Frozen Moment, which he thinks shows promise.

Now I feel a bit caught up; if I can just find a moment to read . . .