rounding up the reviews

What a lot of reviews appear in the weeks since I last compiled them! And a very interesting mix, too.

India has its aficionados of Nordic crime. Among them is Anantha Krishnan, who reviews for a number of online sources. A recent example is this review in Midwest Book Review of Camilla Lackberg’s The Stonecutter.  Ananth feels Lackberg’s strengths are in character development and setting more than plot. (I have to agree.)

Maxine Clark reviews Anders Roslund and Borge Hellstrom’s new thriller, Cell 8, finding it disappointingly ham-fisted in its treatment of an issue, capital punishment. She found the lead character unappealing and the use of coincidence and thin character development in the service of Making a Serious Point less than satisfying. She does point out that fans of political thrillers looking for a fast read may enjoy it.

Kerrie at Mysteries in Paradise had a different experience reading Cell 8 – she found it well-paced and ingeniously plotted, with a nice ironic touch at the end. She also has done a bit of digging and points out that this book was published after Box 21 but before Three Seconds.

At the Independent, Barry Forshaw is also generally positive about the book, noting its strong political message, but concluding “the duo never lose sight of one imperative: to keep the readers transfixed with a mesmerising crime narrative.”

At Euro Crime, the founder and genius-in-chief,  Karen Meek, reviews the latest in Kjell Ericksson’s Ann Lindell series, The Hand that Trembles. Though she finds the series uneven, this book was largely enjoyable after a sluggish start set in India and should appeal to those who prefer depth of characters over pacing and thrills. Unfortunately the production leaves much to be desired, with many problems a good proof-reading would have fixed.

Glenn Harper reviews Jo Nesbo’s standalone, Headhunters, and found it good fun except for the disgusting bits. It sounds very different than the Harry Hole series.

At The View from the Blue House, Rob Kitchen praises Arnaldur Indridason’s Outrage, which he finds layered, philosophical, and reflective while doing, as usual, a good job of mixing mundane daily life with a police investigation.

At Murder by Type Beth reviews Hakan Nesser’s The Unlucky Lottery which she finds a solid character-driven novel that explores what happens when friends win a lottery and it opens up a can of problems.

Three reviews for the price of one at Killer Reads – where readers comment on James Thompson’s Lucifer’s Tears, a Finnish mystery I enjoyed very much.

Keishon reviews Asa Larsson’s The Blood Spilt and gives it – and all of her books – high marks, though she found the ending a bit predictable.

At Crimepieces, Sarah reviews Jorn Lier Horst’s Dregs, which she feels has the qualities that she most enjoys in Scandinavian crime fiction – while sharing the unfortunate fate of being translated out of order.

Bernadette also reviews Dregs at Reactions to Reading and encourages publishers to give English-speaking readers more volumes in this smart, enjoyable series.

Beth at Murder by Type reviews Sara Blaedel’s Call Me Princess which she enjoyed, but cautions readers that it is being compared to all the wrong books; it’s much lighter fare than Stieg Larsson, though like the Millennium Trilogy, it’s about violence against women. If approached on its own merits, Beth thinks it’s well worth a read.

She also reviews The Leopard by Jo Nesbo, which she enjoyed very much, but which has an off-puttingly violent first chapter. Sounds like one to read with your eyes closed – or as she puts it, “the first chapter is unforgettable, which is why I wish I hadn’t read it. ” The other 94 chapters make up for it.

NancyO reviews Midwinter Sacrifice by Mons Kallentoft, which she finds very good and atmospheric, though she’s not convinced that the device of including the voices of the dead is particularly effective. (Or, as she puts it in the comment stream, “the series has potential to be very good but LOSE THE GHOSTY stuff!”

Kerry at Mysteries in Paradise listened to an audio version of Roseanna, the first in the Martin Beck series and finds it “a masterpiece of suspense and sadness.”

Norm at Crimescraps undertakes a reading of The Dinosaur Feather by Sissel-Jo Gazan and describes the experience with a great deal of humor, while providing a review. (Far too much backstory and subplotting in a doorstop of a book hides a good 300-page story hidden among 536 pages.)

And at Reviewing the Evidence I review Arne Dahl’s Misterioso, which seems to me closer to the Martin Beck series than any other Swedish crime fiction that is said to be inspired by Martin Beck. Though it seemed slow to start, I ended up enjoying it very much, and found the context – Sweden’s 1999 financial crisis – to be almost eerily topical and Dahl’s take on it spot-on.

The Euro Crime blog brings the good news that Maj Sjowall has been awarded the Big Caliber Prize of Honour at the International Festival of Crime Fiction, in Wroclaw, Poland. And well deserved it is, too.

The blog also provides a public service by alerting readers to a completely unnecessary and confusing title change. (Camilla Lackberg’s The Stranger = The Gallows Bird. Don’t be fooled into buying it twice.)

On the film and television front, Martin Scorsese will be directing a big screen version of Jo Nesbo’s The Snowman.

Much excitement is mounting over David Fincher’s version of The Girl With the Dragon Tattoo, thanks to which it’s back on the New York Times‘ bestseller list. The New York Times just ran a profile of Fincher and his thoughts on the film. I won’t try to capture the buzz around the film, as that avalanche would quickly bury everything else here.

Though not actually crime fiction, we might as well mention that Henning Mankell’s Italian Shoes is being directed by Kenneth Branagh and will feature Judy Dench and (possibly) Anthony Hopkins.

But for sheer silliness, it’s hard to beat the clash of British and Scandinavian policing in the Hürda Gürda Mürder.

a marvelous answer to a non-question

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.

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.

reviews and what-not

Peter finds Leif GW Persson’s Between Summer’s Longing and Winter’s End “deliciously told, with lots of humor and with live, fallible and flawed characters.” I admit that I was completely unable to read the advanced reader copy I was sent. The translation by Paul Norlen seemed quite good, but the total absence of sympathetic characters and the piecemeal structure (no chapters, but lots of short passages from a multitude of points of view) coupled with an extremely cynical view of police work kept making me find excuses to put it down, even though it is a fictional account based on the investigation of Olof Palme’s assassination and the investigation that never went anywhere. Peter felt differently.

Between Summer’s Longing and Winter’s End is at the same time fascinating and shocking. We embark on a journey deep into the underbelly of the Swedish police force, and meet lazy, incompetent and perverse police officers concerned mostly with position, power, pay, comradeship, drinking and sex. We meet cynical politicians and spin masters in controlling positions.

It’s a dark novel and a dark journey which not only seems very realistic but also masterfully recreates the blanket of uncertainty, the multiple ways insights get lost in huge and complex organizational environments where most actors have their own agendas. Fortunately there is also sarcasm, black satire, dark humor, mind boggling insights, and dialogues that make you laugh out loud. It is a wonderful novel, a riveting anti-procedure police procedural, a psychological drama, and an adventurous journey into a murky landscape we can perhaps only hope doesn’t exist but most likely does. The publication of Between Summer’s Longing and Winter’s End by Leif GW Persson is one of the major crime fiction events of 2010!

The World Socialist Web Site has an article on the Stieg Larsson phenomenon and criticizes the trilogy for feeding vengeance fantasies and treating right and wrong in the same dualistic way that right-wing demagogues do, concluding that (in contrast to Sjowall and Wahloo’s more complex view) Larsson is guilty of “middle class ‘leftism’.” Whether you agree or not with the author’s conclusions, the appeal that the trilogy has for people who more typically enjoy books in which representatives of the law and/or libertarian crusaders triumph through responding to violence with violence is thought-provoking.

The Times of Johannesburg (I think – it’s hard to tell from the site, but it has a South African URL) offers reviews of three thrillers, including Jo Nebso’s The Snowman (“Scandinavian crime fiction at its best – nutritious dollops of social introspection skilfully intertwined with sheer terror.”) and Henning Mankell’s The Man from Beijing (“a political discourse on colonial exploitation in Zimbabwe and the tensions inherent in the modern Chinese Communist elite. Yawn.”)

Xanthe Galanis gives Camilla Lackberg’s The Stonecutter high marks and calls it “great entertainment.”

The Boston Book Bums think Yrsa Siguradottir’s Last Rituals is fun to read, “a quick read that blended the macabre with the academic. Smart and engaging, while not pace set by violent action, Last Rituals moves along with rapidity because Sigurdardottir shows patient skills with characters and setting.”

Larissa Kyser likes Ake Edwardson’s Sun and Shadow a great deal, even though he does things she usually doesn’t like. A substantial and very thoughtful review by someone who thinks deeply about what she’s reading.

The Guardian has a fascinating look at the far right in Sweden and its current position in national politics – fascinating background for some of the themes encountered in crime fiction from Sweden.

Another newspaper article expresses astonishment that there is life after Wallander, though illustrating the point with a photo of Kenneth Branagh.

Norm (aka Uriah) thinks the two Swedish films of the Larsson books are terrific and he can barely contain his impatience to see the final film in the trilogy. He takes a brief break to take issue with a Beatrice article that  calls Larsson’s trilogy “exploitive trash” (The essay is titled: “Stieg Larsson Was a Bad, Bad Writer.” Two bads in one headline.)

Dorte reviews Yrsa Sigurdardottir’s My Soul to Take and thinks it’s a good, good book. Though she is far more eloquent than that as she explains why it worked so well for her.

Karen posts a newsflash to the crime and mystery fiction room at FriendFeed: “Waterstones Picadilly reports sightings of two women foisting The Redbreast instead of The Snowman on unsuspecting purchasers of Jo Nesbo’s books.” Who could that be?

Janet Rudolph reports that Sweden is putting its popular crime fiction writers on stamps. How novel.

Reviews and Nesbo Plus Yet More Larsson

NancyO reviews Hakan Nesser’s Woman With Birthmark and finds it cerebral, subdued, and very good: “What drives the killer is what slowly unravels throughout the story, teased out a little at a time. As in all of his Van Veeteren books, Nesser’s writing, his plotting genius and his characterizations all speak for themselves”

Tulsa People has its take on the “great write north” featuring the usual suspects.

R.T. reviews Kjell Eriksson’s The Demon of Dakar and recommends it.

The Independent reviews Camilla Lackberg’s The Stonecutter and says she’s very good at the job “to make the reader pleasurably uncomfortable.”

New Nesbo Reviews are up at USA Today,The Oregonian, The Washington Post (Patrick Anderson calls it “a big, ambitious, wildly readable story”) and  The New York Times (Marilyn Stasio thinks The Devil’s Star lacks some of the issue-related heft of other books in Harry Hole’s series). Simon Parker at BookGeeks reviews The Snowman. The Dallas Morning News has reviews of The Devil’s Star and Henning Mankell’s The Man from Beijing.

Peter Rozovsky introduces Nesbo and gives us an interview in two parts, here and here. More interviews at the Globe and Mail, and The New York Times.

And there are lashings of Larsson:

On the radio – The Stieg Larsson Story.

Shots Magazine covers “Crimes of the Millennium,” a conference on the Larsson phenomenon held at the Swedish Embassy in the UK. Maxine was there, too.

Books to the Ceiling reports on an “immersion” experience in the Millennium Trilogy via book club discussions.

In “Obama, Lehman, and ‘The Dragon Tattoo,” Frank Rich, a political columnist for The New York Times, points out how prescient Stieg Larsson was in finding the manipulations of bankers traitorous and malicious. He also suggests that the techno-wizards who created some of the complex computer programs that were used to shift vast amounts of money around in ways that nobody really understood, but seemed to keep beating the odds, are a peculiarly American version of Lisbeth Salander, not interested in justice or revealing the true scope of evil but in hacking the system to make themselves rich without moral (or legal) consequences. Rich (who is on the left side of politics) warns that we’d better take Stieg’s warning and deal with popular anger against rewarding big failures. Readers of popular fiction have spoken.

reviews, recipes, and tours

After being too busy at work to post, I have lots of links backed up to share …

Barry Forshaw reviews Jo Nesbo’s The Snowman for The Independent and calls it his most ambitious book.

What sort of issues do you expect your crime fiction to cover? If you feel that personal responsibility, cracks in the welfare state and the problems of parenthood are fair game for the crime novel, then Jo Nesbø is your man. All of these (and many more) are crammed into his weighty latest book, The Snowman.

If, however, your taste is for tough and gritty narratives with a relentlessly page-turning quality, well… Jo Nesbø is still your man. That he is able to combine the urgency of the best storytellers with a keen and intelligent engagement with social issues may well be the reason why Nesbø is shaping up to be the next big name in Scandinavian crime fiction, now that Mankell is on the point of retiring Kurt Wallander and Stieg Larsson is hors de combat.

NancyO, who blogs at The Year in Books, Reviews Box 21 and finds it a great read, but nothing like Larsson’s Millennium Trilogy (as it is being marketed in the US) – rather it’s “a dark book all the way through to the last page, which actually made my blood run cold. There are no feel-good or warm fuzzy moments here, no happy endings, and you will definitely have food for thought after you’ve finished.”

The Globe and Mail has a review of Henning Mankell’s Man from Beijing. The crimes that open the book turn out to be less important to the story than “the history of Chinese enslavement in America, the course of communism in China and, in the grand scheme of things, the relationship between East and West. And in those terms, it’s a great read.”

Mack captures Camilla Lackberg’s Ice Princess and pronounces it gripping and written in a style that he enjoys.

Peter reviews Liza Marklund’s Paradise and recommends it highly. He also finds The Stonecutter by Camilla Lackberg very entertaining. And at another blog (Peter gets around) he also has some words of praise for Kirsten Ekman’s Blackwater.

Camilla Lackberg names her five favorite mysteries by Scandinavian writers.

Norman (aka Uriah) is intrigued by the regional accents that define differences in Scandinavian mysteries. He also has a handy list of Harry Hole videos.  And announces an award for The Leopard which, one hopes, will be translated into English eventually.

Cathy of Kittling Books is underwhelmed by Yrsa Sigurdardottir’s Last Rituals but likes the lead character.

Skye isn’t reading much lately, but she enjoyed the Branagh version of Wallander is looking forward (a bit nervously) to the film version of The Girl With the Dragon Tattoo. She writes of the BBC series

…the three mysteries that make up the mini-series all take place around midsummer, so instead of suffering from a lack of light like so much Swedish crime fiction, they suffer from an, assumedly, intentional overabundance. The films seems hyper-saturated with light, and the irony, that even at the height of midsummer with light radiating from every crack, crime still abounds, is not lost.

Nicholas Wroe profiles Henning Mankell in The Guardian.

WETA has an interview with him.

J. Sydney Jones interviews Norwegian author K. O. Dahl at the “Scene of the Crime.”

At Euro Crime, Maxine reviews Lackberg’s The Stonecutter;  she also reviews Sjowall and Wahloo’s The Locked Room, and Michelle Peckham reviews Mankell’s The Man Who Smiled.

As she nears the end of the “alphabet of crime fiction,” Maxine discusses James Thompson’s Snow Angels finding things to like, but a denouement that didn’t hold up.

The Hypercrime blog rounds up several stories about Scandinavian crime fiction.

Ian MacDougal writes a lengthy review and analysis of the Millennium Trilogy for n+1, “The Man Who Blew Up the Welfare State,” (prompting the FriendFeed room to wonder when the fascination with Larsson will blow over). He writes that the trilogy has two themes: “the failure of the welfare state to do right by its people and the failure of men to do right by women.” And he tackles them with a kind of optimistic idealism.

The typical Swedish detective solves the crime but leaves intact what facilitates it—the broken institutions of the welfare state. The castle in the air, the delusion of a perfect progressive utopia, persists after the case is closed. For Larsson the story’s not over until the state’s blown up, if only in the reader’s mind.

Although there is an obvious analogy to recent American forays into the crime genre, like the HBO series The Wire, this only points to what sets Larsson apart—a particularly Scandinavian optimism that insists it’s never too late to effect real change. Larsson, unlike David Simon, doesn’t see institutional dysfunction as a tragic wheel driven around by some essential human flaw. Larsson the idealist believes that an opposing force, if applied strongly enough, can slow that wheel, if not bring it to a grinding halt.

The Milwaukee Journal Sentinel suggests some enticing recipes to go with Scandinavian crime fiction, in which too many of its heroes live on a diet of pizza.

The Times takes a Larssonized view of Stockholm. A Swedish website offers a crime-flavored tour of Sweden. And this link dates back to the blizzards that have long since melted away. A writer for the Washington Post took the Millennium Trilogy tour of Stockholm, had to buy boots for a bit of snow. Then returned home to a blizzard.