Riel’s Resin (Denmark), Lier Horst’s The Katharina Code (Norway), and translated fiction on the up!

I’ve been reading lots of Scandi crime fiction in preparation for the Petrona Award judges’ meeting, which is coming up soon. As ever, the quality has been impressively high. Two I’ve read recently and really liked are Ane Riel’s Resin and Jørn Lier Horst’s The Katharina Code.

Ane Riel, Resin, translated by Charlotte Barslund (Doubleday 2018)

First line: ‘The white room was completely dark when my dad killed my granny’.

I’m oddly pleased that Riel is a Danish writer. While Denmark seems to have a knack of turning out fabulous TV crime dramas – first and foremost The Killing – it hasn’t been quite so hot in terms of its crime fiction. So reading this very interesting novel has felt like a treat.

Resin can’t exactly be termed a conventional crime novel, but as the first line shows, there’s a crime at the heart of the novel, and it is explored, at least in part, through the eyes of a little girl named Liv. Riel expertly pieces together the events that led to the crime, and in the process tells the story of a family that has turned inwards with tragic consequences. I particularly liked the way the story was narrated from a number of different perspectives within the family, and what it had to say about love, social isolation and the importance of community.

Jørn Lier Horst, The Katharina Code, translated by Anne Bruce (Penguin, 2018)

First line: ‘The three cardboard boxes were stored at the bottom of the wardrobe.’

If you’re a regular reader of this blog, you’ll know I’m already a huge fan of Lier Horst’s ‘Inspector Wisting’ series, one of which, The Caveman, won the Petrona Award in 2016. Can he make it a double?!

The Katharina Code contains one of my favourite things – a really gripping cold case. Every year, Wisting gets out his notes on the disappearance of Katharina Haugen, who vanished from her house 24 years earlier, leaving only a mysterious ‘code’ on the kitchen table, ‘a series of numbers arranged along three vertical lines’. Soon, a new lead in another missing persons case will get him thinking about Katharina’s case in a radically different way. Beautifully written, as ever, this is a thoroughly entertaining and absorbing read.

If you’d like to see all the eligible titles for the Petrona, then take a stroll over to Euro Crime, where Karen has put together a lovely list.

In other news – it’s heartening to hear that sales of translated fiction are booming in the UK, in spite of (or perhaps even because of) Brexit. Overall sales of translated fiction are up by 5.5%, with more than 2.6m books sold, whose value is £20.7m. You can read more in Alison Flood’s piece over at The Guardian – ‘Translated fiction enjoys sales boom as UK readers flock to European authors’ – which also notes that Chinese and Arabic translations are doing well. One of the biggest sellers is our very own Norwegian crime-writing powerhouse Jo Nesbø.

And finally… In an odd twist of fate, Brexit has led me to try my hand at fiction for the very first time. Who’d have thunk it? In any case, I’ve written a darkly humorous crime story called ‘Your Nearest Brexit’, which is available here (under a pen name). It was great fun to write, and, as a reviewer of many years standing, I’ve learned a lot about life on the other side of the fence! All profits are going to the ‘Led By Donkeys’ billboard campaign, which is very wittily and effectively holding certain UK politicians to account.

The 2018 Petrona Award shortlist is announced!

Here we go!!!

Six outstanding crime novels from Denmark, Finland and Sweden have made the shortlist for the 2018 Petrona Award for the Best Scandinavian Crime Novel of the Year, which is announced today. They are… *drumroll*

  • WHAT MY BODY REMEMBERS by Agnete Friis, tr.  Lindy Falk van Rooyen (Soho Press; Denmark)
  • QUICKSAND by Malin Persson Giolito, tr. Rachel Willson-Broyles (Simon & Schuster; Sweden)
  • AFTER THE FIRE by Henning Mankell, tr. Marlaine Delargy (Vintage/Harvill Secker; Sweden)
  • THE DARKEST DAY by Håkan Nesser, tr. Sarah Death (Pan Macmillan/Mantle; Sweden)
  • THE WHITE CITY by Karolina Ramqvist, tr. Saskia Vogel (Atlantic Books/Grove Press; Sweden)
  • THE MAN WHO DIED by Antti Tuomainen, tr. David Hackston (Orenda Books; Finland)

WHAT MY BODY REMEMBERS by Agnete Friis, tr.  Lindy Falk van Rooyen (Soho Press; Denmark)

Her ‘Nina Borg’ novels, co-written with Lene Kaaberbøl, have a dedicated following, but this first solo outing by Danish author Agnete Friis is a singular achievement in every sense. Ella Nygaard was a child when her mother was killed by her father. Did the seven-year-old witness the crime? She can’t remember, but her body does, manifesting physical symptoms that may double as clues. Ella’s complex character is superbly realised – traumatised yet tough, she struggles to keep her son Alex out of care while dealing with the fallout from her past.

QUICKSAND by Malin Persson Giolito, tr. Rachel Willson-Broyles (Simon & Schuster; Sweden)

In this compelling and timely novel, eighteen-year-old Maja Norberg is on trial for her part in a school shooting which saw her boyfriend, best friend, teacher and other classmates killed. We follow the events leading up to the murders and the trial through Maja’s eyes, including her reaction to her legal team’s defence. Lawyer-turned-writer Malin Persson Giolito successfully pulls the reader into the story, but provides no easy answers to the motives behind the killings. Gripping and thought-provoking, the novel offers an insightful analysis of family and class dynamics.

AFTER THE FIRE by Henning Mankell, tr. Marlaine Delargy (Vintage/Harvill Secker; Sweden)

Henning Mankell’s final novel sees the return of Fredrik Welin from 2010’s Italian Shoes. Living in splendid isolation on an island in a Swedish archipelago, Welin wakes up one night to find his house on fire and soon finds himself suspected of arson by the authorities. While there’s a crime at the heart of this novel, the story also addresses universal themes of loss, fragile family ties, difficult friendships, ageing and mortality. The occasionally bleak outlook is tempered by an acceptance of the vulnerability of human relationships and by the natural beauty of the novel’s coastal setting.

THE DARKEST DAY by Håkan Nesser, tr. Sarah Death (Pan Macmillan/Mantle; Sweden)

Many readers are familiar with the ‘Van Veeteren’ detective stories of Håkan Nesser, but his second series, featuring Swedish-Italian Detective Inspector Gunnar Barbarotti, is only now beginning to be translated. An engaging figure who navigates his post-divorce mid-life crisis by opening a witty dialogue with God, Barbarotti is asked to investigate the disappearance of two members of the Hermansson family following a birthday celebration. The novel’s multiple narrative perspectives and unhurried exploration of family dynamics make for a highly satisfying read.

THE WHITE CITY by Karolina Ramqvist, tr. Saskia Vogel (Atlantic Books/Grove Press; Sweden)

Karolina Ramqvist’s novella focuses on an often marginalised figure: the wife left stranded by her gangster husband when things go wrong. Karin’s wealthy, high-flying life is over. All that’s left are a once grand house, financial difficulties, government agencies closing in, and a baby she never wanted to have. This raw and compelling portrait of a woman at rock bottom uses the sometimes brutal physical realities of motherhood to depict a life out of control, and persuasively communicates Karin’s despair and her faltering attempts to reclaim her life.

THE MAN WHO DIED by Antti Tuomainen, tr. David Hackston (Orenda Books; Finland)

The grim starting point of Antti Tuomainen’s novel – a man finding out that he has been systematically poisoned and his death is just a matter of time – develops into an assured crime caper brimming with wry black humour. Finnish mushroom exporter Jaakko Kaunismaa quickly discovers that there’s a worryingly long list of suspects, and sets about investigating his own murder with admirable pluck and determination. The novel’s heroes and anti-heroes are engagingly imperfect, and Jaakko’s first-person narration is stylishly pulled off..

Congratulations to all the authors, translators and publishers!

The Petrona judges – Barry Forshaw, Sarah Ward and myself – had the following to say about the shortlist: 

There were 61 entries for the 2018 Petrona Award from six countries (Denmark, Finland, France, Iceland, Norway, Sweden). The novels were translated by 33 translators and submitted by 31 publishers/imprints. There were 27 female and 33 male authors, and one brother-sister writing duo.

This year’s Petrona Award shortlist sees Sweden strongly represented with four novels; Denmark and Finland each have one. The crime genres represented include a police procedural, a courtroom drama, a comic crime novel and three crime novels/thrillers with a strong psychological dimension.

As ever, the Petrona Award judges faced a difficult but enjoyable decision-making process when they met to draw up the shortlist. The six novels selected by the judges stand out for the quality of their writing, their characterisation and their plotting. They are original and inventive, and shine a light on highly complex subjects such as Post-traumatic Stress Disorder, school shootings, and life on the margins of society. A key theme that emerged across all of the shortlisted works was that of family: the physical and psychological challenges of parenting; the pressures exerted by family traditions or expectations; sibling rivalries; intergenerational tensions and bonds; family loyalty… and betrayal.

We are extremely grateful to the translators whose expertise and skill allows readers to access these gems of Scandinavian crime fiction, and to the publishers who continue to champion and support translated fiction.

The Petrona Award is open to crime fiction in translation, either written by a Scandinavian author or set in Scandinavia and published in the UK in the previous calendar year. The winning title will be announced at the Gala Dinner on 19 May during CrimeFest, held in Bristol 17-20 May 2018.

The Petrona team would like to thank our sponsor, David Hicks, for his generous support of the 2018 Petrona Award. Enormous thanks too to Karen Meek (aka Euro Crime), for all of her excellent organisational work throughout the year!

For further information about the Petrona Award, see http://www.petronaaward.co.uk/

Friday afternoon treats: Friis’ What My Body Remembers (DEN), Ramqvist’s The White City (SWE), Verdan’s The Greek Wall (SWI), BBC 2’s Collateral (UK)

I’m in the thick of my 2018 Petrona Award reading at the moment, and have chanced on two quite unusual submissions. While different books in many respects, both are gripping explorations of what it’s like to be a mother in traumatic circumstances.

Agnete Friis, What My Body Remembers (trans from Danish by Lindy Falk van Rooyen; Soho Crime, 2017). First line: “Can’t you get him to shut up at night?”

This standalone novel takes us into the world of Ella Nygaard, a 27-year-old single mother who’s struggling to make ends meet while dealing with the fallout of her own traumatic past – she was made a ward of state at the age of seven after her father murdered her mother. Ella suffers from PTSD panic attacks and strange physical symptoms that she can’t quite decode. When the state threatens to place her son Alex in care, she takes decisive action. But the price of keeping Alex with her is a return to the seaside town in northern Denmark where she was brought up, and a confrontation with the traumatic events of the past.

I really liked this novel. Ella is a great character – traumatised but tough – and the book gives a sobering insight into the strains of living on the edges of poverty and under the constant gaze of a state that can take your child away from you. Ella’s physical symptoms are used very effectively to show the severity of her trauma, but are cleverly also clues to the mystery of what happened the night her mother died twenty years before. While some aspects of the novel’s ending might make you raise an eyebrow, this is a very well-written, gripping thriller that stays with the reader thanks to Ella’s characterisation (shades here of Gillian Flynn’s resilient heroine in Dark Places).

Karolina Ramqvist, The White City (trans from Swedish by Saskia Vogel; Grove Press, 2017). First line: ‘It was the end of winter’.

This novella tells a tale normally lost in the margins of gangster stories: the fate of women who are left behind by their gangster husbands when things go wrong. Here, the woman in question is Karin, whom we meet a few months after the disappearance of her husband John. Gone is the high-flying life she used to enjoy on the proceeds of her husband’s criminal activities. All that’s left now is a once-grand house, serious financial difficulties, and government agencies closing in. Oh, and a baby that Karin never actually wanted to have.

The White City is a raw, but utterly compelling portrait of a woman at rock bottom, and her efforts to heave herself out of a state of despair. As in What My Body Remembers, Karin’s body becomes a symbol of a life that’s out of control. I’ve rarely seen the physical realities of motherhood described in such unvarnished, powerful terms in a literary work.

Nicolas Verdan, The Greek Wall (trans from French by W Donald Wilson; Bitter Lemon Press, 2018). First line: ‘In normal circumstances he’d have gone on his way’.

Nicolas Verdan’s debut, The Greek Wall, is a truly European novel. Its author is a French-speaking Swiss journalist who divides his time between Switzerland and Greece. It’s set partly in Athens – the symbolic heart of the Greek political and economic crisis – and partly on the Greek-Turkish border, where the river Evros is a favoured crossing point for immigrants trying to enter the Schengen Area. Its characters are Greek, Turkish, German, Finnish and Russian.

When a severed head is discovered on the Greek-Turkish border by a Frontex patrol, Agent Evangelos of Greek Intelligence is sent to investigate, and finds himself embroiled in a politically sensitive case that exposes the realities of power, corruption and illegal immigration. Verdan draws heavily on the true story of the wall (actually a 12.5 kilometer barbed-wire fence) erected by Greece along the Evros in 2012 (an interesting article on it here by EU Observer, with a handy map).

I particularly liked the character of Evangelos, who’s a veteran of turbulent Greek politics and has his own murky past, and the novel’s lyrical style, which is at times dreamy and looping, like the thoughts of its investigator, and at times brutally frank about Fortress Europe, and the way that nationality and wealth so often dictate people’s life chances. The ending is neat too.

A bit of exciting telly news for those in the UK. Next Monday, 12th February, sees the start of a new four-part series on BBC 2 that looks very promising indeed.

Political thriller Collateral is scripted by playwright David Hare (the David Hare) and features an absolutely stellar cast. Along with the fabulous Carey Mulligan, who plays Detective Inspector Kip Glaspie, there’s an ensemble cast including John Simm, Nicola Walker and Billie Piper. I know!!!

Set over four days in London, Collateral explores the consequences of the fatal shooting of a pizza delivery man.

David Hare says of the series: 

‘At its start, Collateral may seem to be familiar. After all, it does involve a police investigation. But I hope you will notice the absence of any of the usual apparatus of police procedurals. […] After an illegal immigrant is shot in the opening moments, I am much more interested in exploring how the death of one individual, who has lived out of the sight of respectable society, resonates and reaches into various interconnecting lives.’

Carey Mulligan adds:

‘There is such a scarcity of great writing for women and this drama has so much. It is happening much more in TV than in film, but it is still rare to have this many well rounded female characters in one drama, and what I love is that they are not all likeable – they are flawed, three-dimensional, real people. Often women are encouraged to be amenable, likeable characters and these women are much more than that, they have so much going on which is really exciting.’

Read the full interview with David Hare here, the full interview with Carey Mulligan here, and an overview of the series at the BBC’s Media Centre here.

Eurotour Stop 2. Copenhagen, Denmark: “I take the train to Enghave station”

Goddag from Copenhagen! Today’s extract is from…

Peter Høeg, Miss Smilla’s Feeling for Snow (trans. from Danish by F. David; Harvill Press, 1996 [1992], 129-30.

I take the train to Enghave station. From there I walk. I’ve had a look at Krak’s Map of Copenhagen at the library on Torvegade. In my mind I have an image of a labyrinth of winding streets.

The station is cold. A man is standing on the opposite platform. He’s staring longingly towards the train that will take him away, into the city, into the crowds. He’s the last person I see.

Right now the inner city is like an anthill. People are crowding into the department stores. They’re getting ready for theatre premieres. They’re standing in line in front of Hviid’s Wine Cellar.

Sydhavnen is a ghost town. The sky is low and grey. The inhaled air tastes of coal smoke and chemicals.

Anyone who is afraid that machines will soon take over should not take a stroll in Sydhavnen. The snow hasn’t been cleared away. The pavements are impassable. Along the narrow, ploughed tracks now and then enormous articulated lorries with dark windows devoid of any humans move. A blanket of green smoke hovers over a soap factory. A cafeteria advertises potato fry-up and sausages. Behind the windows, red and yellow lights shine on lonely deep-fat fryers in an empty kitchen. Above a pile of coal and slush a crane moves aimlessly and restlessly back and forth on its rails. From the cracks in closed garage doors there are some bluish glimmers and the crackling of arc welders, and the jingling of the illegal money being earned, but no human voices.

Then the road opens on to a picture postcard: a large harbour basin surrounded by low yellow warehouses. The water is iced over, and while I’m still taking stock of the view, the sun appears, low, white-gold, surprising, and lights up the ice like an underground electric bulb behind frosted glass. There are small fishing boats at the wharf with blue hulls the colour of the sea where it meets the horizon. On the outer edge of the basin, out in the harbour itself, there is a big three-masted sailing ship. That’s Svajerbryggen.

Copenhagen gallery

We’re staying in the suburb of Westerbro, a gentrified working-class area with lots of lovely red-brick apartment blocks like the one below. Just down the road from us is Enghave station, the first stop on Smilla’s journey in the extract above.

Strøget is the main shopping street in Copenhagen. It opens out onto a little square featuring this delightful stork fountain. There are posh department stores nearby…

…featuring these kinds of fashion posters. Happily, I can confirm that this is still an *unusual* look for Danish men in the capital.

Here’s the famous Nyhaven, an unfeasibly photogenic harbour right in the heart of the city. The harbour that Smilla visits is much bigger (and now much more developed) than this tourist attraction.

Nyhaven is also one of Copenhagen’s main cycling arteries. Pretty much everyone seems to get to work or school by bike, even in the rain. Small kids go in the barrow on the front.

A new bridge now connects Nyhaven and the area of Christiania. This photo looks south; Smilla’s library (on Torvegade) lies on the right-hand shore.

For the foodies: here’s the open prawn sandwich I had for lunch yesterday. It was divine.

Click here for an overview of Mrs. Peabody’s Eurotour

Rucksacks at the ready! Time for a Eurotour of criminal goodness

It’s September and there’s European adventure in the air…

Swansea-Hamburg-Copenhagen-Malmö-Stockholm-Turku-Helsinki-Tallinn-Riga-Vilnius-Gdansk-Olsztyn-Poznan-Berlin-Swansea

Mr. P and I will shortly be donning our ancient rucksacks and heading over the Channel.

  • Destination: northern and eastern Europe.
  • Duration: one month.
  • Transport: train, ferry, bus, car, llama (well you never know).

Our Eurotour – aka the ‘Bollux to Brexit’ tour – will take us to a number of wonderful European cities (see image caption above).

When we reach certain cities, I’ll be posting a short extract from a crime novel or thriller focused on the place in question, giving an insight into the city’s geography, architecture, history, politics, food…

The featured cities are as follows:

  1. Hamburg, Germany
  2. Copenhagen, Denmark
  3. Stockholm, Sweden
  4. Helsinki, Finland
  5. Tallinn, Estonia
  6. Riga, Latvia
  7. Olsztyn, Poland
  8. Berlin, Germany

Each extract will be accompanied by a few photos I’ve taken while out and about (I suspect there will be a bit of an emphasis on food…and beer…).

I won’t give away which crime novels I’ve picked out, but here’s a little teaser for you…

Our first extract, for the Hanseatic city of Hamburg, contains the following sentence: 

The time in Hamburg was a few moments after eleven in the morning, and the footpath leading to the jetty was speckled with sunlight and dead leaves. 

Just for fun: Who is the author? And in which novel does this elegant sentence appear?

And if you’d like some reading ideas for European crime fiction, then head here:

35 European crime novels

International delights at Newcastle Noir (plus my top three picks)

Crime fiction with plenty of laughter and cake: my first visit to Newcastle Noir at the beautiful Lit & Phil was a hugely enjoyable experience. This Geordie crime festival has been running just three years, but featured an impressive programme of 14 panels over two days (and that’s not counting the fringe events). All credit to organisers Dr. Jacky Collins (Northumbria University) and Kay Easson (The Lit & Phil) for creating such a vibrant and wonderfully friendly event.

Given the relatively modest size of the festival, I was struck by the high proportion of international writers who were there – thanks in no small part to Karen Sullivan at Orenda Books, who had ten authors with her, one of whom had flown in all the way from Australia. In order of appearance:

  • Lilja Sigurðardóttir (Iceland)
  • David Swatling (US/Netherlands)
  • Kjell Ola Dahl (Norway)
  • Thomas Enger (Norway)
  • Nina von Staffeldt (Denmark)
  • Antti Tuomainen (Finland)
  • Cay Rademacher (Germany/France)
  • Wulf Dorn (Germany)
  • Erik Axl Sund (aka Jerker Eriksson/Hakan Axlander Sundquist, Sweden)
  • Johana Gustawsson (France)
  • Camilla Grebe (Sweden)
  • Paul Hardisty (Canada/Australia)

And then there were a number of British crime authors who set their works in foreign climes: Steph Broadribb (‘Lori Anderson’ series, Florida), David Young (‘Karin Müller’ series, East Germany), William Ryan (‘Korolev’ series, 1930s Russia; The Constant Soldier, 1944 Germany), Luke McCallin (‘Reinhardt’ series, WWII Sarajevo and post-war Berlin), and Quentin Bates (‘Gunna’ series, Iceland).

The Newcastle Noir bookshop had a distinctly international flavour

A major highlight for me was chairing two ‘German’ panels: ‘German Historical Crime’ with Luke McCallin, William Ryan and David Young, and ‘German Noir’ with Wulf Dorn and Cay Rademacher. All the authors gave fascinating, thoughtful and eloquent answers to questions about writing historical crime fiction/psychological thrillers, their settings (1930s Russia; World War II Sarajevo and Germany; post-war Hamburg and Berlin; 1970s East Germany; present-day Germany), and the research they undertook while writing their works. Lizzy Siddal has posted a marvellous write up of the two panels over at Lizzy’s Literary Life – do take a look! And for further details of the authors and their works, see my post from last week.

From top left by row: the ‘German Historical Fiction’ panel; Cay Rademacher answers a question; GHF panel group photo; Cay, Mrs P and Wulf Dorn thank the Goethe-Institut London for its support; William Ryan reads from The Constant Soldier while Luke McCallin listens; the ‘German Noir’ panel; David Young and Wulf fostering Anglo-German relations; David reads from Stasi Wolf.

Here are my top three international crime fiction picks from Newcastle Noir – all by authors who are new to me:

Elisabeth Herrmann’s The Cleaner (translated by Bradley Schmidt; Manilla 2017). Elisabeth was the one who got away: she was due to appear on the ‘German Noir’ panel (replacing Sascha Arango), but was unable to make it due to problems with her flight. My consolation was reading The Cleaner, an extremely accomplished novel that features an outstanding protagonist, Judith Kepler. Judith works for a company that specialises in cleaning crime scenes, and comes across a clue to a mystery in her own East German childhood when she cleans a flat following a particularly nasty murder. A hybrid detective novel, historical crime novel and thriller, The Cleaner is a gripping and highly engaging read.

Luke McCallin’s The Man from Berlin (No Exit Press, 2014). I hadn’t read any of Luke’s work before being asked to chair the ‘German Historical Fiction’ panel, and was extremely impressed by The Man in Berlin, the first in the ‘Gregor Reinhardt’ series. Aside from the vast amount of historical research that’s gone into the novel, I particularly liked the unusual setting for a WWII series – Sarajevo of 1943. The city is beautifully evoked, and the complex politics of the time are deftly incorporated into the narrative (which is no mean feat). The novel sees conflicted military intelligence officer Reinhardt investigating the politically charged murder of a Yugoslav film star and a German military colleague.

Paul E. Hardisty, Reconciliation for the Dead (Orenda Books, 2017). Paul was on the ‘Action Thriller’ panel and is the author of the ‘Claymore Straker’ novels. While this is the third in the series, it can be read first, because it tells Straker’s origin story, focusing on his formative years as a soldier in the South African Army in the early 1980s. That narrative is framed by Straker’s return to Africa in 1996 to testify at the South African Truth and Reconciliation Commission. I hadn’t intended to buy this book, but after hearing Paul speak it became a must-read. I was particularly struck by the author’s willingness to present the novel as a serious attempt to get to the terrible truths of South African apartheid, and to depict them in as realistic and hard-hitting a way as possible. I’m two thirds of the way through the novel now, and can tell that it’s going to stay with me for a long time.

To finish off, here are some photos of beautiful Newcastle, the Lit & Phil, and some criminally minded friends. Looking forward to Newcastle Noir 2018 already…

With thanks to Susan at The Book Trail, Vic Watson at ElementaryVWatson, Ewa Sherman and other attendees for the use of some of these photos. 

New Year crime fiction treats from Denmark, England, Finland, France, Iceland, Norway and Sweden

Happy New Year to you all!

I hope that 2017 has started well and that you have lots of lovely crime fiction lined up as we move into a new reading year.

One of the truly splendid things about a crime blogger’s life is being sent lots of fantastic books. The picture below shows my postbag for the last month, which contains some mouth-watering delights.

new-year-treats

As these crime novels come from a variety of publishers, it’s interesting to see how the contents of individual parcels combine. Quite a number in this consignment are entries for the 2017 Petrona Award, which I help to judge along with Barry Forshaw, Sarah Ward and Karen Meek. This explains the high ratio of Scandi crime, including novels by Norwegian crime writing stars Anne Holt (special guest at last year’s CrimeFest) and Karin Fossum. The latter’s ‘Inspector Sejer’ novel The Drowned Boy (Harvill Secker, tr. Kari Dickson) was shortlisted for the 2016 Petrona Award.

Another Petrona entry that’s particularly caught my eye is Finnish author Kjell Westö’s The Wednesday Club (MacLehose, tr. Neil Smith). This novel originally appeared in Swedish (one of Finland’s official languages), is set in Helsinki in 1938, and explores the legacy of the Finnish Civil War. Two of the other novels are set around that time as well (both from Harvill Secker): Danish author Simon Pasternak’s Death Zones (tr. Martin Aitkin / Belorussia in 1943) and Arnaldur Indriðason’s The Shadow District (tr. Victoria Cribb / wartime Reykjavík). The latter is a proof copy and a very exciting bit of post, as it marks the beginning of a new series from this outstanding author (pub. April 2017).

Ragnar Jónasson’s Rupture (Orenda, tr. Quentin Bates), the latest in the ‘Dark Iceland’ series, is also one I’m very much looking forward to reading: it features a cold case from 1955, which sounds right up my street. Other delights include the latest Eva Dolan and Fred Vargas novels (Harvill Secker), Watch Her Disappear and A Climate of Fear (tr. Siân Reynolds). Both Dolan and Vargas are excellent writers, albeit with extremely different styles and authorial concerns.

Lastly, there’s been quite a lot of talk about Erik Axl Sund’s The Crow Girl (Harvill Secker, tr. Neil Smith). It features a highly unusual female protagonist and is definitely not going to be a boring read…

So, that lot’s going to keep me busy for a while.

Which crime novels are you particularly looking forward to reading in January? 

Bron III Broen – The Bridge is back!

The Bridge 3

It’s back…! Bron III Broen (The Bridge series 3) returns to UK screens tonight after what seems like a very long wait. Martin Rohde (Kim Bodnia) may no longer be around, but the wonderful Saga Noren (Sofia Helin) will be strutting her stuff as usual – in her highly individual way.

The first and second episodes will air today, Saturday 21 November, on BBC4 between 9.00 and 11.00pm. The series contains 10 episodes in total, which are in Swedish and Danish with English subtitles.

Here, for your delectation, is the BBC4 trailer ‘A new Saga begins’ (terrible pun)…

And here’s an overview of the series from the BBC:

>> The Bridge 3: When Helle Anker, the founder of the first gender-neutral kindergarten in Copenhagen and a high-profile debater on gender issues, is found murdered in Sweden, the Danish and Swedish police are compelled to join forces once more for a third series of The Bridge. The brutal killing turns out to be only the first in a series of gruesome crimes, strung together in a case which involves Saga Norén of the Malmo Police personally and which will change her forever. A powerful, intriguing and unpredictable tale of crime, played out by fascinating and complex characters, the new season will revolve around the concept and structures of family – new, old, deviant, classical, constructive and destructive. At its heart, The Bridge carries a central theme of personal responsibility and its consequences. <<

The Radio Times also features a piece on Sofia Helin winningly entitled ‘I’d rather be a feminist icon than a sex symbol’. There’s an extract here and the full interview is carried in the RT magazine.

And over at Nordic Noir, there’s an insightful interview with Sofia about the new series and dealing with Kim’s departure (may contain the odd spoiler).

Happy viewing!

THEBRIDGEIII

Stop Press! BBC Four announces autumn Scandi dramas: Beck, The Bridge and Arne Dahl

UPDATES: The first episode of Beck aired on Saturday 12 September at 9pm on BBC4. My review of ‘Buried Alive’ (no major spoilers) is available here.

Beck has now finished. Arne Dahl begins on Saturday, 17. October at 9.00.

The start date for The Bridge 3 is Saturday 21. November (9pm; double episode). Mrs P blog post and trailer available here.

Series 2 of The Young Montalbano starts on Saturday 2. January 2016. More info available here.

                                                                   ************

BBC Four’s Channel Editor Cassian Harrison made some exciting crime drama announcements at the Edinburgh TV festival today. Below is an extract from the BBC4 press release:

>> BBC Four brings viewers an autumn of gripping Scandinavian drama with the return of the hugely popular The Bridge (the final episode of the last series was enjoyed by over 1.5m viewers) and Arne Dahl, as well as the launch of new crime thriller Beck.

beck

Beck: Based on the characters of the hugely popular Martin Beck detective series of novels by Swedish husband-and-wife writers Maj Sjöwall and Per Wahlöö, Beck sees the much-loved detective brought to life on the small screen. Following the fortunes of enigmatic and extremely methodical detective Martin Beck and his partner, the irascible, impulsive Gunvald Larsson, Beck is arguably the originator of what has become known as Scandinavian crime: the good-cop, bad-cop partnership which went on to form the modern crime-fighting blueprint.

The brand-new feature-length films see detective Martin Beck investigating the shocking death of a young woman found strangled in a hotel room, a gangster kingpin executed by a sniper in front of his family, a terrorist attack and a suspicious hospital death which sourly turns out to be premeditated murder. It’s an intricate web of characters and lies. Think again. The killer is never who you expect it to be.

Starring Peter Haber (The Girl With The Dragon Tattoo) as Beck and Mikael Persbrandt (The Hobbit: The Desolation Of Smaug) as Larsson, the drama’s combination of complex woven details of police detection and beautifully realised characters combined with twisting, masterful storylines has ensured that the award-winning series won fans and acclaim from around the world.

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The Bridge 3: When Helle Anker, the founder of the first gender-neutral kindergarten in Copenhagen and a high-profile debater on gender issues, is found murdered in Sweden, the Danish and Swedish police are compelled to join forces once more for a third series of The Bridge. The brutal killing turns out to be only the first in a series of gruesome crimes, strung together in a case which involves Saga Norén of the Malmo Police personally and which will change her forever. A powerful, intriguing and unpredictable tale of crime, played out by fascinating and complex characters, the new season will revolve around the concept and structures of family – new, old, deviant, classical, constructive and destructive. At its heart, The Bridge carries a central theme of personal responsibility and its consequences.

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Arne DahlThe Swedish crime drama returns with five new stories. The A Unit has been disbanded for the past two years. When a wave of brutal murders hits Polish nurses in Sweden, the National Police see their chance to reinstate the The A Unit, and Kerstin Holm, previously a member of the team, is assigned to lead them.

We meet a chastened team of individuals who have allowed the all-consuming nature of their police work to eat away at their private lives. Demands and expectations have never been higher and a cold wind blows through the corridors at the National Police head-quarters. Can Kerstin get the unit to deliver, or is this new effort a misguided attempt by a paranoid police force in a time of increasingly unusual and refined criminal activity?

It is produced by Filmlance International AB in co-production with Sveriges Television and ZDF Germany, written by Erik Ahrnbom, Linn Gottfridsson, Peter Emanuel Falck and Fredrik Agetoft, adapted from the novels by Arne Dahl.<<

This is all very fitting on the day that sees the UK publication of the fourth in Stieg Larsson’s Millennium series, The Girl in the Spider’s Web, authored by David Lagerkranz (it’s out in the US on 1st September). Reviews appear to be pretty favourable thus far, as this example by The Telegraph‘s Jake Kerridge shows. So glad to see Salander living to fight another day.

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Berlinale 2015 showcases international crime dramas and thrillers from Germany, Israel, Denmark, Sweden and Italy

The 2015 Berlinale – one of the world’s top international film festivals – closes today in Berlin. As ever, a host of wonderful films have been shown during the packed ten-day programme, with the Iranian film Taxi, directed by dissident filmmaker Jafar Panahi, awarded the coveted Golden Bear.

While reading coverage of the festival, I was interested to see that some international TV dramas were premiered as part of the programme, and that a number of these had a pronounced crime/thriller/spying dimension. Alessandra Stanley’s excellent article in the New York Times provides a good overview, and also discusses how such series are beginning to be picked up in the States (and not always to be remade in English either), which is a very good sign.

Here are a few of the series in question:

Deutschland 83. There’s quite a lot of buzz about this spying drama in Germany and beyond, and it has now also been picked up by an American network (in the original German!). The central protagonist is East German border guard Martin Rauch, who is sent across the border as an undercover agent by the Stasi (the East German secret police); his task is to pose as an aid to a West German general working with NATO. Stanley describes the series as ‘an ingenious, counter-intuitive look at the Cold War’ and a recent Guardian article sees it as indicative of rising interest in the divided Germany of 1949 to 1990.

Deutschland 83

Shkufim (False Flag). According to Stanley, this Israeli political drama was inspired by the assassination of a Hamas leader in Dubai in 2010. That scenario has been reworked for the series, which shows five Israeli citizens waking up one day to find they are prime suspects in the kidnapping of a Iranian official in Moscow. The drama is produced by Tender Productions, which also has links with Homeland (which was itself based on the Israeli series Hatufim).

The five suspects in False Flag

Follow the Money is a Danish crime thriller series by DR Drama (the makers of The Killing and Borgen) due to air later this year. It focuses on corruption in big business, with a lovely twist: the business in question is a wind-power company called Energreen, with supposedly impeccable ecological and moral credentials. Insider dealings and dodgy deaths indicate that all is not as it should be.

Follow the Money. Photo credit Christian Geisnæs

1992 is an Italian drama that was picked up in Berlin by the UK, according to Stanley (though no specific channel is named). This time, the corruption of political life by big business is the focus: the drama explores the Italian bribery scandals of the 1990s, and the attempts of Milan magistrate Antonio Di Pietro to clean up politics through Operation Clean Hands (Mani Pulite).

Italian crime series 1992

Last but not least, Blå ögon (Blue Eyes) is a Swedish-German crime series that explores racism, discrimination and immigration issues. Stanley describes it as having an anti-racist message, but also wanting to ‘upend expectations’ by giving characters on all sides of the debate a voice. One of the murder victims is a female, right-wing politician, who is assassinated while out in public.

STV’s Blue Eyes

Stanley ends her piece by noting that none of these series feature the disappearance or death of a child, as seen in earlier crime series such as The Killing and Broadchurch. Or to put this another way: these dramas are moving from highly personal cases whose investigations focus on the family and small communities, to cases that address larger historical, political and social issues. Interesting times. As ever, I’m hoping that a good number will make it on to our UK and US screens.