At Petrona, Maxine rounds up crime-fiction-related commentary in the press following the dreadful terrorism in Norway, features that question whether there’s something unusual about Scandinavian countries and how their writers tackle the triggers that lead to violence; she wisely says “many of these questions are non-questions. Norwegian society is no different at some granular level from any other society.” What follows is an excellent armchair traveler’s guide to Norwegian crime fiction. She concludes:
A sense of place marks a good novel, of course, but though place provides a specific snapshot, the issues faced by us are common ones wherever we live. Crime fiction provides a most appropriate lens with which to examine such matters, often being well ahead of the curve, while enjoying a good story as we go.
Go read the whole thing – it’s superb. (And why hasn’t any major newspaper signed Maxine on as a columnist? They could do worse. In fact, they almost always do.
NPR interviews Anne Holt, a Norwegian writer who has been following extremist groups, for her insights into Norwegian society and how people like Breivik can fill up with hate. (Unfortunately the insights one gets into American society reading the comments are rather depressing. If they are a mirror to society, it’s a very warped one.)
More at The Guardian (Brian Oliver), the New York Times (Jo Nesbo), and Jakob Stugaard-Nielsen at the Nordic Noir Book Club.
Peter reports that Roslund and Hellstrom have won the CWA International Dagger award for Three Seconds.
Maxine reviews Yrsa Sigurdardottir’s The Day is Dark at Euro Crime, finding it entertaining but a bit too leisurely in its pacing; she also misses the interactions of the protagonist and her family, as this adventure takes Thora to Greenland where someone is making mischief at a mining facility.
Also at Euro Crime, Karen Meek reviews Karin Fossum’s The Caller, which sounds very chilling and very, very Fossum.
Glenn Harper at International Noir Fiction welcomes Red Wolf, the delayed translation of the sequel to Liza Marklund’s The Bomber and wonders why such a significant writer has had such poor luck in the English language market. He also has some interesting things to say about the portrayal of the flawed main character. (And in this case, as is generally true of these blogs, the comments are well worth reading.)
On a Scandinavian tear, he also reviews Agnete Friis & Lene Kaaberbol’s The Boy in the Suitcase, the first work of this Danish team to be published in English translation, and makes me very impatient to read it.
He also reviews Arne Dahl’s Misterioso, finally published in English after many years of teasing, and finds it a satisfying police procedural somewhat more in the mold of Sjowall and Wahloo than the many books that supposedly trace their lineage to S & W.
Misterioso and Lars Kepler’s The Hypnotist are reviewed by Lynn Harnett in Seacoast Online, and gives them both a thumbs up, though with the caveat that Kepler tends to strain the suspension of disbelief. (An aside: why do newspaper websites go to such lengths to disguise the community they serve? There’s rather a lot of seacoast in the US. This one appears from the ads and various subheadings to be Casco Bay in Maine – the sort of mystery I’d rather not be bothered trying to solve.)
Norman reviews The Vault (Box 21) by Roslund and Hellstrom and says “If you read crime fiction because you want to see justice done this is not the book for you. If you like books that are truthful, very sad, and don’t pull their punches then get hold of this superb example of Swedish crime fiction that jumped straight in to my top reads of the year.” (I might add here that I thought this book far more memorable and moving than Three Seconds. The subject matter is more gripping, but also more disturbing.)
Bernadette reviews Camilla Lackberg’s The Stonecutter and compares it to an ad campaign for a non-alcoholic whiskey (??!!??): “the drink you have when you’re not having a drink.” It’s a melodrama with characters she cares about that has a crime in it. Had the crime solving been more competent, we’d have about five minutes with the characters and that wouldn’t do. (An aside: S.J.Watson wrote a novel about a woman with amnesia; his editor said “this is a thriller, only you need to make it more thrilling” – which probably explains the way the ending acts so different than the rest of the book.)
Beth at Murder by Type reviews Kjell Ericksson’s The Hand That Trembles, which sounds complex, timely, and well worth reading. Hmm … add that to the TBR.
At the Public Sphere, there’s a review of Lars Kepler’s The Hypnotist, which uses the key words grim, dark, blood-spattered, and compelling. He starts with a charming Swedish word that has no exact equivalent in English: “lagom” – just enough, just right, not too much. It’s something The Hypnotist (and several other Swedish thrillers) lacks. Hmm, that makes me wonder – which Nordic mysteries can be described with that word?
Possibly this one. NancyO reviews Johan Theorin’s The Quarry and makes me more impatient than ever to read it. She does a good job of depicting how this author is able to write in a style that is deliberate and thoughtful and yet makes you want to keep turning the pages – all without explosions, serial murders, or conspiracies that need to be thwarted to prevent the end of the world as we know it. Some thriller writers should study this technique.
Peter Rozovsky at Detectives Beyond Borders has been reading Agnete Friis and Lene Kaaberbøl’s The Boy in the Suitcase, which sounds very interesting indeed – another one for Mount TBR.
There’s a brief interview with Maj Sjowall about the Martin Beck series at the website for Fourth Estate, a HarperCollins imprint which is reprinting the books. You can see all the covers here. Wait, is that a cousin of the man whose back is on so many covers? And perhaps second cousin to that ubiquitous running man is making an appearance, too.
Barry Forshaw, who has a new book in the wings, is interviewed by Jeff Kingston Pierce for Kirkus ; Norman responds with his thoughts on how the Nordic nations do not have a corner on social critique but rather are popular because many of the writers are very good at telling stories.
I do wonder, though, if our idea of what makes a good story might be turning a bit from the good guy/bad guy confrontation between good and pure evil to a more reality-based kind of story, which some of the best Nordic storytellers do particularly well. And perhaps, too, this is why so many of these stories being told well in Italy and Ireland and South Africa and in Scandinavia also have such a strong sense of place – when you ground your stories in some version of reality, it has geographical coordinates. But they also have a combination of interesting chain of events and characters you care about that give them passports to bookshelves in many countries.