Most
of the Scandinavian crime wave is made up of thrillers and police
procedurals, only occasionally reaching the bleak potrayal of life in
the streets that is typical of noir. Carl-Johan Vallgren
reaches for noir, basing his two (so far0 novels featuring ex-junkie
Danny Katz in a difficult landscape of heroin, disfunctional famiies,
life on the streets, sexual deviance, and exloitation. The Tunnel, the
second in the series, also focuses (almost equally) on two former
friends of Danny's, from his junkie days, Eva, now a prosecuting
attorney, and Jorma, a career criminal.
The novel actually begins
with a failed armored car heist, in which Jorma is involved. Jorma
spends most o the rest of the book seeking who is responsble for the
betrayal that led to the robbery's failure and the murder of a friend,
also involved in the robbery. Danny, a computer expert and former
intelligence office, is involved in both the investigation of his own
Jewish background and in the murder of a friend (a drug dealer) and the
disappearance of the dealer's girlfriend. Eva becomes involved when
Danny asks her for information relating to the drug dealer.
But Eva has her own demons,
including a failed marriage (and her failure to be an adequate parent),
her addiction to casual sex, and a difficult (to say the least)
relationship with her boss. As all the threads are slowly drawn together
(int he first two-thirds of the book) the stage is set for a violent,
sexually twisted (~a la 120 Days of Sodom), and breathless rush to a
consculsion. Finally, at the end. Dany once again confronts his family
history and Jewish roots, and the story (and perhaps the series) comes
to an emotionally crashing conclusion.
This book is a difficult
read, first because of the shifting perspectives, second because of the
disgusting sexual violence lying behind muh of the plot. But for fans of
Swedish crime fiction who have been craving something darker and
tougher, this will be an essential novel.
Friday, July 27, 2018
Friday, July 13, 2018
Icelandic noir TV series
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There has been a flowering
of crime fiction from Iceland in recent years, beginning with Arnaldur In∂ridason’s
dark police procedurals featuring Erlendur, of which Jar City (written in 2000) was the first translated into English (in 2005) and made into an excellent film in 2006 by Iceland's most famous director, Baltasar Kormákur. A number of other writers, mostly natice Icelanders, have followed Arnaldur into globalcrime fiction circles.
a trend that has in more recent years resulted in a suddenly
visible crime television boom, several series having become available on streaming services in the U.S.and beyond. One of them, Lava Field, even refers to that 16th-century serial killer. Lava Field deals with murder in a remote location, near a small town in which the lead detective has roots. There are a lot of interesting characters, not the least of whom is a woman who is a former athlete and new cop who becomes a key investigator in the case. There are also many views of the country's bizarre landscape. Lava Field was, at least until recently, available on Netflix
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Another Icelandic series, Cover Story, (also known asThe Press) is available (2 seasons so far) on Walter Presents int he U.S. This one, despite the serius crimes and turbulent lives of the main characters, is not quite as heavy as the other three mentioned above. The scene is a newsroom, which provides some opportunity for comic moments largely (but not entirely) missing from the other series. In this one, the main character is a woman reporter trying to raise her two kids mostly alone, while becoming more deeply involved in murder, financial crimes, and anti-immigrant violence.
IN early 2017, the murder of 20-year-old Birna Brjánsdóttir as she walked through Reykjavik late at night after a night out, brought home to Icelanders that the blossoming of noir in their country is not an entirely fictional phenomenon--though it's still a safer country than its fictional output would suggest, the seeds of noir have taken root in real conditions and crimes.
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Tuesday, July 03, 2018
A brief word about Anita Nair's A Cut-Like Wound
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A Cut-Like Wound deals with transvestism and transexuality, but Nair is careful to draw the character of the novel's violence from a person rather than a community. The violence of Chain of Custody is more pervasive, rooted in the trafficking of children, but in that novel the traffickers are personalized in the character of a conflicted young man who is one of the prominent voices of the novel.
Both are significant, involving, and convincing crime novels: but start with A Cut-Like Wound, please.
Beside the Syrian Sea, James Wolff
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He's clearly out of his depth in the complexities of Beirut, and his own British government is trying to stop him from getting involved (after refusing to pay the ransom that Isis demands). He contacts an alcoholic priest (who is a bit of a character out of the novels of Graham Greene), luring him into collaborating on his task by lying and involving not just the priest but the one person in the world that the cleric cares about. Jonas also falls in with Hezbollah (in some of the darker passages of the first part of the novel).
It takes a while for Jonas's plan to become clear, and begin to actually develop, and then it moves quickly but not in a straight line The story is always compelling, but frequently claustrophobic in its focus on Jonass on less-than-clear mind. This is an unusual, and unusually well-written, spy novel, aimed squarely at the grim realities of our current world.
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