Sunnie wonders what’s up in Scandinavia that leads to such a large concentration of crime fiction writers. Is it the long winters that give time for imaginations to churn? Whatever the cause, she recommends Arnaldur Indridason’s Arctic Chill. It’s “a very solid police procedural indeed. But he has done much more than that. He also explores the issues of immigration and racism. Indridason also strikes a nice balance between the work of the detectives and their lives outside of their work.”
Peter Guttridge thinks Yrsa Sigurdardóttir’s My Soul to Take is a winner – “both frightening and funny – a terrific trick if you can pull it off.”
DJ reviews Anne Holt’s forthcoming (to the US market) crime novel, Death in Oslo which concerns America’s first female president. (Well, we got pretty close, but we have another first instead…) Anyway, she concludes,
This could easily have been a hardboiled thriller about politics and international crime, but Anne Holt has turned it into a story about human beings, especially by virtue of her engaging descriptions of some outstanding women. “We women and our damned secrets, she thought. Why is it like this? Why do we feel shame whether we have a reason or not? Where does it come from, this oppressing feeling of carrying around guilt?”
DJ goes on to say this is a book is one that fits her current “crime for all” project, a fascinating examination of femikrimi and machocrimi (themes at her blog for February and March) and books that are not specifically geared to men or women but appeal across the board (April’s theme). It has been a fascinating discussion – and one that has me thinking in new ways about books I’m reading. Some seem very deliberately pitched to a single sex by either emphasizing lots of action, large trucks, and explosions or by dwelling almost entirely on interpersonal relationships, sometimes with female leads who are either highly vulnerable and unable to protect themselves (as a rather lame ratchet for suspense) or dithering about romantic relationships (leading to book-shaped dents in my walls).
It seems to me that a lot of Scandinavian crime fiction manages to emphasize both relationships and a kind of tough-minded realism, a balance that sees crime itself as a manifestation of social relationships, an emphasis that goes back to Sjowall and Wahloo. And that’s most likely one of the reasons I find it so satisfying.
Crime for all – including the best impulses of the feminist turn in crime fiction from the late 70s – early 80s. Works for me!