Sweden

I got confused which is nothing, absolutely nothing, new. But one night, for some reason, I plucked THE INNER CIRCLE by Mari Jungstedt from the stacks, and started reading. Then I got quite convinced I'd already read the book. So I went to check and found UNSEEN, which I then re-read, ending up very struck by the similarities between the two plots. Which got me wondering if there were similarities in all of them, and as I had a number of the books to hand, I thought I'd read them in order and see what was going on.

Still managed to screw up the order completely. Sigh. Oh, and THE INNER CIRCLE was also published as UNKNOWN just to add to the confusion.

So, anyway, I read UNSEEN, then THE INNER CIRCLE / UNKNOWN, then THE KILLER'S ART and finally UNSPOKEN which got me to the end of the books that were here, waiting to be read. Having spread this little exercise out over a couple of months, I was still struck by the similarities - sometimes in plot elements, always in the ongoing personal elements, and overwhelmingly in the way that the journalistic aspects take precedence over the police investigation, although the last part does seem to moderate a little in the final book - UNSPOKEN.

It comes as absolutely no surprise that the author of these books has worked as a journalist as that viewpoint is undoubtedly the strongest in all of these books. Whilst that aspect is obviously written with authority, it does rather skew the investigative aspects of the various cases. The personal complications of this particular journalist's personal life, absolutely did not help this reader as the whole thing lurched too much into melodrama for my liking. Add to that a rather journalistic, rather than storytelling author style and I will admit I was struggling.

A struggle obviously not helped by the idea of reading all of the books in rapid succession. I could really see the similarities after the second book, and the increasing predictability, and to be frank, tediousness of the personal life was increasingly boring and vaguely irritating. I definitely remember reading UNSEEN the first time round (of course I do, the similarities between it and UNKNOWN were what sent me off on this quest after all), and whilst I was not overly impressed at the time, I wasn't put off completely either. By the end of all four books though I have to confess I was increasingly underwhelmed with the series. Not one that I'd avoid, but not one that I'd shunt to the top of the pile by default.

I got confused which is nothing, absolutely nothing, new. But one night, for some reason, I plucked THE INNER CIRCLE by Mari Jungstedt from the stacks, and started reading. Then I got quite convinced I'd already read the book. So I went to check and found UNSEEN, which I then re-read, ending up very struck by the similarities between the two plots. Which got me wondering if there were similarities in all of them, and as I had a number of the books to hand, I thought I'd read them in order and see what was going on.

Still managed to screw up the order completely. Sigh. Oh, and THE INNER CIRCLE was also published as UNKNOWN just to add to the confusion.

So, anyway, I read UNSEEN, then THE INNER CIRCLE / UNKNOWN, then THE KILLER'S ART and finally UNSPOKEN which got me to the end of the books that were here, waiting to be read. Having spread this little exercise out over a couple of months, I was still struck by the similarities - sometimes in plot elements, always in the ongoing personal elements, and overwhelmingly in the way that the journalistic aspects take precedence over the police investigation, although the last part does seem to moderate a little in the final book - UNSPOKEN.

It comes as absolutely no surprise that the author of these books has worked as a journalist as that viewpoint is undoubtedly the strongest in all of these books. Whilst that aspect is obviously written with authority, it does rather skew the investigative aspects of the various cases. The personal complications of this particular journalist's personal life, absolutely did not help this reader as the whole thing lurched too much into melodrama for my liking. Add to that a rather journalistic, rather than storytelling author style and I will admit I was struggling.

A struggle obviously not helped by the idea of reading all of the books in rapid succession. I could really see the similarities after the second book, and the increasing predictability, and to be frank, tediousness of the personal life was increasingly boring and vaguely irritating. I definitely remember reading UNSEEN the first time round (of course I do, the similarities between it and UNKNOWN were what sent me off on this quest after all), and whilst I was not overly impressed at the time, I wasn't put off completely either. By the end of all four books though I have to confess I was increasingly underwhelmed with the series. Not one that I'd avoid, but not one that I'd shunt to the top of the pile by default.

I got confused which is nothing, absolutely nothing, new. But one night, for some reason, I plucked THE INNER CIRCLE by Mari Jungstedt from the stacks, and started reading. Then I got quite convinced I'd already read the book. So I went to check and found UNSEEN, which I then re-read, ending up very struck by the similarities between the two plots. Which got me wondering if there were similarities in all of them, and as I had a number of the books to hand, I thought I'd read them in order and see what was going on.

Still managed to screw up the order completely. Sigh. Oh, and THE INNER CIRCLE was also published as UNKNOWN just to add to the confusion.

So, anyway, I read UNSEEN, then THE INNER CIRCLE / UNKNOWN, then THE KILLER'S ART and finally UNSPOKEN which got me to the end of the books that were here, waiting to be read. Having spread this little exercise out over a couple of months, I was still struck by the similarities - sometimes in plot elements, always in the ongoing personal elements, and overwhelmingly in the way that the journalistic aspects take precedence over the police investigation, although the last part does seem to moderate a little in the final book - UNSPOKEN.

It comes as absolutely no surprise that the author of these books has worked as a journalist as that viewpoint is undoubtedly the strongest in all of these books. Whilst that aspect is obviously written with authority, it does rather skew the investigative aspects of the various cases. The personal complications of this particular journalist's personal life, absolutely did not help this reader as the whole thing lurched too much into melodrama for my liking. Add to that a rather journalistic, rather than storytelling author style and I will admit I was struggling.

A struggle obviously not helped by the idea of reading all of the books in rapid succession. I could really see the similarities after the second book, and the increasing predictability, and to be frank, tediousness of the personal life was increasingly boring and vaguely irritating. I definitely remember reading UNSEEN the first time round (of course I do, the similarities between it and UNKNOWN were what sent me off on this quest after all), and whilst I was not overly impressed at the time, I wasn't put off completely either. By the end of all four books though I have to confess I was increasingly underwhelmed with the series. Not one that I'd avoid, but not one that I'd shunt to the top of the pile by default.

I got confused which is nothing, absolutely nothing, new. But one night, for some reason, I plucked THE INNER CIRCLE by Mari Jungstedt from the stacks, and started reading. Then I got quite convinced I'd already read the book. So I went to check and found UNSEEN, which I then re-read, ending up very struck by the similarities between the two plots. Which got me wondering if there were similarities in all of them, and as I had a number of the books to hand, I thought I'd read them in order and see what was going on.

Still managed to screw up the order completely. Sigh. Oh, and THE INNER CIRCLE was also published as UNKNOWN just to add to the confusion.

So, anyway, I read UNSEEN, then THE INNER CIRCLE / UNKNOWN, then THE KILLER'S ART and finally UNSPOKEN which got me to the end of the books that were here, waiting to be read. Having spread this little exercise out over a couple of months, I was still struck by the similarities - sometimes in plot elements, always in the ongoing personal elements, and overwhelmingly in the way that the journalistic aspects take precedence over the police investigation, although the last part does seem to moderate a little in the final book - UNSPOKEN.

It comes as absolutely no surprise that the author of these books has worked as a journalist as that viewpoint is undoubtedly the strongest in all of these books. Whilst that aspect is obviously written with authority, it does rather skew the investigative aspects of the various cases. The personal complications of this particular journalist's personal life, absolutely did not help this reader as the whole thing lurched too much into melodrama for my liking. Add to that a rather journalistic, rather than storytelling author style and I will admit I was struggling.

A struggle obviously not helped by the idea of reading all of the books in rapid succession. I could really see the similarities after the second book, and the increasing predictability, and to be frank, tediousness of the personal life was increasingly boring and vaguely irritating. I definitely remember reading UNSEEN the first time round (of course I do, the similarities between it and UNKNOWN were what sent me off on this quest after all), and whilst I was not overly impressed at the time, I wasn't put off completely either. By the end of all four books though I have to confess I was increasingly underwhelmed with the series. Not one that I'd avoid, but not one that I'd shunt to the top of the pile by default.

Second book in the Erica Falck and Patrik Hedström series, THE PREACHER continues the personal story of these two characters, whilst taking the reader into another past / present scenario. I think I'm going to have to start a count of this sort of storyline as it seems to be cropping up all over the place. In this case the present connects with the past when the body of a young tourist is located in the place where the bones of two missing tourists, missing for 20 years, are then discovered. A second young female goes missing and the race is on.

Apart from the locations, and the setting for this book there's not a lot unusual in the plot-line here, nor are there any particular stand out elements in the way that the investigation is undertaken. Focus falls on the local misfits, clues keep leading back to them, but which family member and what is the explanation for the 20 year gap.  

The personal life aspects of this book do seem to take a lot of the focus. Erica's very advanced pregnancy means that she's unable to contribute to the investigation, instead a series of unwelcome guests in the house cause problems in the extreme heat, simply by refusing to leave.

I must admit the personal aspects, whilst amusing for a while, got pretty predictable quickly, and Erica's inability to show all these annoying people the door vaguely bewildering. As are her sisters actions, in an ongoing storyline from the first book. A lot of this wandering around in the personal didn't really seem to be advancing the story anywhere in particular, and I've no idea why on earth most of it was there.

Buried somewhere under all this personal chitchat, there is a plot lurking which was actually quite interesting. The first book THE ICE PRINCESS interested me slightly more than THE PREACHER, and I'd think that readers would be best off starting with the earlier book, as there's a lot that won't make a lot of sense in THE PREACHER without it. Whilst I was a bit disappointed in this book, this is a series I'm planning on continuing with as long as I can still see glimmers of something interesting.

The fifth book in the Annika Bengtzon series, I've absolutely no idea whether or not the entire series has been translated in order or not. I've sort of lost the plot with this series, probably because the first book - THE BOMBER - didn't appeal a lot. The last I read, PRIME TIME, was better, but a lot of the problem is that Annika, as the main focus, is a character I find it very hard to either warm to, or increasingly raise much interest in.

The plot of RED WOLF, that idea of the past having a direct impact on the present, is something I'm noticing a lot these days. The interweaving of the 1969 destruction of a plane on a Swedish air base, home-grown Communist sleeper cells and the impacts of the Cold War on Sweden then and now was carefully drawn out, given immediacy and current day relevance by the death of another journalist, Benny Ekland. It's an interesting idea, in this book executed reasonably well, although it does take a little while to get going. Which wasn't exactly helpful, as there's also a lot going on in Annika's personal life, which, if like me, you're having trouble with Annika, doesn't help with getting into this book.

This is probably my biggest cause of confusion with this series. I can't work out why Annika grates quite as much as she does. Somehow she comes across to me as less stoic and determined and more whingy and inclined to play the martyr. Less put upon and more the cause of most of her problems.

There's also another pattern I've noticed a bit. Whilst having a journalist as an investigator of crimes, outside the law, isn't that big a stretch of the imagination, there is sometimes a tendency to just make out that the official police investigators have "missed" vital clues. Again, not a big stretch of the imagination to think that maybe it could happen... but every time a journalist is involved?

Blast, I think I'm in nitpicking territory. Which isn't a good thing. The biggest problem I've now got is that I'm not keen on the idea of just abandoning a series based on problems with one or two books - working on the principle that a book should stand alone, as well as be part of the series. 3 books out of 5 translated that have left me feeling a bit disappointed might mean that I have to shuffle the other couple down the priority pile a bit.

On the face of it, THE HYPNOTIST should be a book that's right up my alley, and yet, somehow it's taken quite a few attempts to get to the end of, and the feeling left has been one of vague confusion and a little disappointment.

Dr Erick Maria Bark was once a renowned hypnotherapist, doing ground breaking work with people with deep psychological issues. Until something went wrong, and Bark vowed never to use hypnosis again. A vow he keeps until many years later, when he's asked to use his technique on a young, teenage boy, horribly injured in a two part attack that has killed his father and then his mother and one sister hours later. Surviving the attack, but only just, Josef Ek is in a critical condition in hospital and Detective Inspector Joona Linna is desperate for clues, and to save the only remaining family member, older sister, Evelyn, who may have only survived because she wasn't at home on the night of the murders.

Herein probably lies a large part of my confusion. I never quite worked out the whys / hows and what thes associated with hypnotising a young, unconscious, critically injured man. The whole requirement to get him hypnotised in the first place seemed overtly convenient, a very odd set of circumstances designed to get the main storyline going. Which appeared to be more about Bark's own background and less about the murders for a fair proportion of the book. A background, which on the face of it, seemed to have a so-called professional therapist making some rather odd decisions when it comes to treating patients. Which background also needed to have a fraught home life, which was pre-destined to lead to a threat close to home, and a very odd feel good sort of an ending, after some rather overt violence and what can only be classed as a lot of slashing about - literal and figurative.

Part of the problem I had was not that Bark was a difficult character to empathise with, more so that he was such a difficult character to believe. The other part of the problem was the muddied focus. There was so much concentration on the backstory of Bark, on his previous patients, on his family life, that it was too easy to loose the central thread of his involvement. That there was this damaged, now mostly dead family, and a brother and sister who obviously had some sort of major back story. The level of violence, the madness inherent in the way that they died didn't seem plausible as a story device, when they only seemed to be there for the purposes of getting Back into the limelight.

The other part of the problem was with the plot arc which, frankly, got all over the place at points. Of course it doesn't help when just about everybody, including Bark, is overtly "damaged" ... which seemed to be code for shrill, daft and/or utterly self-obsessed. All in all I just couldn't shake that feeling of confusion - no idea what on earth this book was trying to say or achieve. And disappointed because there really is a sneaking feeling that this was an opportunity lost.

Mons Kallentoft is not making any bones about using the weather conditions as a feature in his books - MIDWINTER SACRIFICE, and now SUMMERTIME DEATH. Given that temperatures of 45º+ aren't exactly record breaking in these parts, it's a real testament to the way that this book is written that makes the reader almost physically experience the effects of that heat in such an overwhelming manner. But there's also an ongoing device which is fascinating - the lead detective, Malin Fors, was told many years ago by a mentor to listen to all the voices in an investigation. Kallentoft uses that device - the voices of so many of the characters - to great effect.

Having now read both of these books, it's difficult not to be struck by how strongly character driven they are - obviously with the emphasis on the leading detective Malin Fors. Even allowing for the predictability of a separation from her husband, and the problems with raising a teenage daughter, she's an interesting character with flaws and foibles that make her very human. There's also something very subtle going on in the use of the voices of the investigation - at points it's somehow the voices of minor characters that make them real. It's also the voice of the victim - giving the character often incidental in crime fiction a personality, a life, a reality. It doesn't hurt that there are points at which the writing of these voices, in particular, is simply beautiful, often poignant and definitely moving.

The emphasis on the characters, and the use of the voices, does create a more measured, careful, studied exploration of the plot in SUMMERTIME DEATH though, so fans of quick fire, high tension thriller style books are probably going to find the journey a little too slow. For this reader, however, the use of those voices is engaging, thoughtful and almost haunting at points.

This is more of an immersion reading book than a roller-coaster ride to a conclusion. Whilst there is definitely a plot building in SUMMERTIME DEATH, and there is an imperative to solve these dreadful crimes, it's not until very late in the book that the pace really does ramp up, and to be honest, the threat at the end didn't really come as that big a surprise. But by then I was completely hooked by the voices, and looking forward to more of this series.

THE MAN FROM BEIJING is a standalone book from the author of the popular Kurt Wallender series, and if the discussions I've seen about it are any indication, it's guaranteed to polarise opinion.

Set in Hesjövallen, where something very very bad has happened, police are called to the village by researcher, Karsten Höglin, who arrived in the town to find that this quiet, mostly deserted little village in Sweden is the scene of a massacre.

Judge Brigitta Roslin has an unexpected connection to this place, when she discovers that two of the victims are her mother's adopted parents, but it is enough of a connection to give her an investigation to fill the emptiness she feels in her own life.  Following the trail to China, in the face of police disinterest and her own families objections, she soons discovers an international connection and a nightmarish situation.

Possibly part of the reason for some readers dissatisfaction with this book could be the rather tentative connection that Brigitta has to the crime, and her motivation for suddenly dropping everything and heading off in pursuit of a solution. The other objection could very well be the politics that are built into the story.  Neither of these aspects presented much of an issue for me, and as a reader, I found Brigitta's actions and reactions were something I was happy to accept.  The political viewpoint that Mankell presents was also not unexpected, and I felt not heavy-handed.  

I've got a number of standalone novels by Mankell salted away in MtTBR (aka the retirement fund), and if THE MAN FROM BEIJING is any hint, then I've got lots of books to look forward to.

The problem, if there is one, with the receipt of a new book by John Ajvide Lindqvist is the vague worry that one day there just could be a book by this author that doesn't quite work for me.  If there is such a book in Lindqvist's imagination, LITTLE STAR isn't it.  

I don't quite know what it is about Lindqvist's writing but he consistently takes this reader into territory that I'd normally run a mile from - be it vampires in LET THE RIGHT ONE IN, zombies in HANDLING THE UNDEAD or mysticism and profound parental attachment in HARBOUR, so nothing much has changed as I found myself deeply involved in a plot that culminates with an "Swedish Idol" styled TV program....  Without giving too much away, let's say that LITTLE STAR is about a family's musical stardom, an abandoned baby, ambition and the perversity of fame.  LITTLE STAR is another clever morality play from this author, weaving a tale of manipulation, selfishness, and selective blindness in the face of raw ambition, into a narrative that's extremely readable, hypnotic and frequently very moving.  

I'm not sure if it's a feature of the original language, but somehow there's a tone and a cadence to the prose in all of Lindqvist's books, that gives them a lyrical, beautiful and extremely readable style - it must, at the very least, be quite a feat of translation.  However it's done, that style, cadence and tone were a part of the great appeal of the first book, and it's definitely continuing in LITTLE STAR.  Which makes many of the less palatable elements of some of the characters, their actions, and their behaviour stand out even more starkly, and, in particular, make the mystical, the "other" (for want of a better description) just work.  They become not just believable, but somehow expected, required if you like.

So yet again, I'm confounded by the use of another "other worldly" scenario in LITTLE STAR that was so simply and beautifully built into the narrative that I didn't bat an eyelid.  I was amazed at the way that the narrative ebbed and flowed, the way that a story built and rolled out and around and into some of the dark places of the worst of behaviour.  I was strangely relieved at the metering out of justice, albeit somewhat startled at the method... but mostly, I was extremely pleased to spend time with yet another superb book from a master storyteller like John Ajvide Lindqvist.