“Prose both scabrous and poetic.” – Publishers Weekly. “Proust meets Chandler over a pint of Guinness.” – Spectator. “A sheer pleasure.” – Tana French. “Among the most memorable books of the year, of any genre.” – Sunday Times. “A hardboiled delight.” – Guardian. “Imagine Donald Westlake and Richard Stark collaborating on a screwball noir.” – Kirkus Reviews. “A cross between Raymond Chandler and Flann O’Brien.” – John Banville. “The effortless cool of Elmore Leonard at his peak.” – Ray Banks. “A fine writer at the top of his game.” – Lee Child.

Tuesday, August 17, 2010

Go Nord, Young Man

I had one of those pieces on ‘Nordic Writers Wot Aren’t Stieg Larsson’ published in the Sunday Independent last week, which featured contributions from Jan Costin Wagner, Yrsa Sigurdardottir and Hakan Nesser. It went a lot like this:
The Thrillers Who Came In From the Cold

With the second movie of the ‘Millennium Trilogy’ coming at the end of August, a Hollywood remake of the first movie starring Daniel Craig and (rumour has it) Scarlett Johansson already in the works, and the discovery of a fourth Blomkvist-Salander novel on his computer, it’s fair to say that the publishing phenomenon that is Stieg Larsson has some way yet to run.
  Aficionados of the genre, however, are aware that Scandinavian crime writing has much more to offer than Stieg Larsson. The Sweden-set ‘Martin Beck’ series of novels written by husband-and-wife team Maj Sjöwall and Per Wahlöö are considered a milestone in the evolution of the realist crime novel, while Henning Mankell is a household name, particularly for his Kurt Wallander novels.
  A whole new generation of Scandinavian crime writers have emerged in the last decade, however. While the sub-genre has its roots in Sweden, the crime novel is now indigenous to Norway and Finland, Denmark and Iceland. Writers such as Karin Fossum, Yrsa Sigurdardottir, Jø Nesbo, Jan Costin Wagner, Karin Alvtegen, Håkan Nesser, KO Dahl, Camilla Lackberg, Leif Davidson, Arnaldur Indridason and Gunnar Staalesen are hugely popular not only at home, but increasingly so abroad too.
  The conventional theory has it that the assassination of Swedish Prime Minister Olof Palme in 1986 had a seismic impact on the Swedish psyche, one consequence of which was an explosion in crime writing. Given the seriousness of the catalytic event, the crime novels were taken seriously by the Swedish literati, resulting in an ever-increasing quality of writing and criticism.
  Swedish author Håkan Nesser, on the other hand, takes an irreverent approach to the question of why there has been such a boom in Scandinavian crime writing.
  “When I’m in my most optimistic mood I tend to answer, ‘It’s due to the fact that we are such damned good writers,’” he says. “Right now we probably have the world’s largest number of good crime writers per capita, but please be aware of that we also have the world’s largest number of bad crime writers!
  “There is no such thing as a ‘Swedish way’ of writing a crime story,” he continues. “We are all different. The only thing we have in common is that we write in Swedish. Any reader who reads a book by Stieg Larsson, a book by Karin Alvtegen and a book by myself will realise this immediately. We all have different styles, different plots, different aims and agendas.”
  German author Jan Costin Wagner, who sets his novels in Finland, agrees. “Basically I think that every author has to find their own language,” he says, “their own key topics, characters and ways of approaching a story. And, of course, not each Scandinavian crime novel is a good one. But apart from that, I think that many Scandinavian crime writers understand how important it is to be serious and committed to their story and their characters.”
  Icelandic author Yrsa Sigurdardottir believes that Iceland offers a unique setting for the crime novel.
  “Iceland, with its 300,000 inhabitants, is a whole lot smaller population-wise than most countries,” she says. “As a result, the atmosphere here is still quite similar to that of a small town, despite our attempts at becoming cosmopolitan. This allows for complex interactions and ties between characters that differ greatly from those one expects in stories that take place in a big city. Another ingredient of the social fabric that differentiates us from other western countries is an unusually high belief in the occult and the supernatural, which adds an element that would probably strike a false note in crime stories based elsewhere.
  “Also,” she continues, “old secrets, vendettas and misdeeds might lie dormant here but they are never fully forgotten - or forgiven. When the social aspects just described are coupled with the smorgasbord of eerie scenery my geologically active country has to offer, Iceland thankfully has the makings of a wonderful backdrop for good, fun and creepy murders.”
  While Sigurdardottir highlights the physical and social aspects of her settings, Wagner identifies a more psychological appeal.
  “I don’t feel committed to a ‘school of writing’,” he says, “because I want to stay committed to my own inner movement: that is most important for everything I write. I feel close to the Scandinavian crime writing because Scandinavians quite often stay focussed on the inner, maybe hidden, life of a story and a character. I like novels which surprise the reader by finding their way beyond cliché. I like the silent moments, the words that are hidden behind the lines; I also like the silent showdown and not so much the bombastic one, which is based on a kind of formal, expected resolution.”
  The idea that the modern Scandinavian crime novel offers a blend of social realism and a more introspective take on the traditional crime narrative is echoed by Håkan Nesser.
  “Ingmar Bergman is a cineastic icon around the world,” he says, “and for most people a Bergman character is the true essence of a Swede: gloomy, depressive, suicidal, tragic, silent and deeply, fundamentally unhappy. But interesting, somehow.
  “I like to think that the above is not an accurate description of our national character,” he says, “but in all clichés there is an element of truth. And actually – though I find it a little hard to acknowledge – such stereotypes might be good material for characters in a crime story: morose men and women who can store grudges inside themselves for half of a lifetime, and then one day take desperate but calculated action like a bolt out of the blue.” - Declan Burke

  Håkan Nesser’s THE INSPECTOR AND SILENCE is published by Mantle.
  Yrsa Sigurdardottir’s ASHES TO DUST is published by Hodder & Stoughton.
  Jan Costin Wagner’s SILENCE is published by Harvill Secker.
  This article first appeared in the Sunday Independent.

  Incidentally, I finished Jan Costin Wagner’s SILENCE last night, and it’s a terrific piece of work. Highly recommended.

5 comments:

seana said...

Nice piece. On the one hand the fact that we lump them all together is absurd. But on the other, as a bookseller, I know from experience that if someone likes one of these writers, it's pretty good odds they'll like many of the others. Perhaps what's most in common for the ones that have made it over here is that the writers are intelligent and know their craft.

Maxine said...

Na, forget Scarlett or Hermione. They chose Wayne Rooney to play Lisbeth in the Hollywood remake, in the end. Wisest to stick to the Swedish versions....

Dorte H said...

I hadn´t seen those quotations by Håkan Nesser. Great! I´d like to meet that guy one day.

And one can´t help wondering that if the world stop looking for the next Stieg Larsson, they might stumble upon something that is even better.

critical mick said...

Hey, Dec- you forgot to mention Michael Ridpath, whose Where the Shadows Lie introduces an Icelandic crime series.

You also forgot to mention that you have a contribution coming up in The Mammoth Book of Best British Crime 8! (http://crimesceneni.blogspot.com/2010/08/mammoth-book-of-best-british-crime-8.html) Congrats, amigo!

Peter Rozovsky said...

Geez, everyone is calling Declan British these days.