Arnaldur Indriðason’s The Shadow Killer: exclusive extract and giveaway!

I’m delighted to feature an exclusive extract from Arnaldur Indriðason’s The Shadow Killer on the blog today. Plus: to celebrate the publication of the novel, the good people at Harvill Secker have donated two copies to give away to UK readers! All you need to do is answer one simple question (see the bottom of the post for details).

Indriðason is one of my very favourite crime writers. He’s best known for the excellent long-running ‘Detective Erlendur’ series featuring Erlendur and his colleagues Elinborg and Sigurdur Oli (see Crime Fiction Lover’s wonderful guide here).

Happily, the author has now embarked on an absorbing new ‘Reykjavík wartime’ series, set in Iceland during the Second World War, a time that brought a huge number of changes to its little capital city, not least due to the presence of the British and American armies. As well as treating readers to an intriguing investigation, The Shadow Killer also provides some fascinating insights into the dramatic social changes in Iceland at the time.

Place: Reykjavíc

Time: August 1941

Detectives: Flóvent (Reykjavic’s only detective) and Thorson (an Icelandic-Canadian military policeman)

Case: A travelling salesman is found murdered in a basement flat, killed by a bullet from a Colt 45. Could a member of the Allied Occupation forces be involved?

View of Reykjavik (taken a few years ago during Iceland Noir)

EXTRACT from The Shadow Killer, translated by Victoria Cribb (Harvill Secker, 2018), pp. 50-52 (reproduced with kind permission of the publisher).

US counter-intelligence had been given temporary quarters in one wing of the old Leper Hospital on Laugarnes Point. They shared it with their British colleagues who had requisitioned the hospital building shortly after the occupation. The few remaining patients had been sent to a sanatorium in Kópavogur, the settlement to the south of Reykjavík.

Although the United States was officially still neutral, within a few months American troops were scheduled to relieve the British garrison and take over responsibility for the defence of Iceland. First to arrive had been the Marine Corps and 5th Defense Battalion on 7 July with their anti-aircraft units, followed by the first land army contingent on 6 August, and more reinforcements were expected any day now to swell their ranks – thousands of armed men who had never even heard of Iceland before, let alone known where to find it on a map. In no time at all Reykjavík had become a seething mass of British troops preparing to withdraw, reinforcements from America, incomers from the Icelandic countryside – seeking a better life in the suddenly prosperous city – and the citizens of Reykjavík themselves, young and old, who had yet to come to terms with the transformation their town had undergone in the last year.

As Thorson drove up to the imposing edifice of the old Leper Hospital on the northern side of Laugarnes, he found himself thinking about prejudice and ostracism, thoughts which were no strangers to him. Naturally the location was no coincidence: the patients had been segregated, kept at a safe distance from the town, or rather, more importantly, the townspeople had been kept at a safe distance from them. A second hospital, the Kleppur Asylum, stood down by the sea a little to the east, even further removed from the town. The Leper Hospital was the most impressive wooden building in the country. It consisted of two floors and an attic, with rows of windows the length of the building and two gables projecting from the front, one at each end. As he admired it, Thorson thought about all the disruption the military occupation had brought to this sparsely populated island and its simple society. On a calm spring day in 1940, the war had come knocking on Reykjavík’s door, and transformed the lives of its inhabitants. Thorson, together with a handful of other Canadian volunteers, had been among the first to come ashore with the British invasion force, as a private in the Second Royal Marine Battalion. They had marched under arms to the country’s main government offices and witnessed first- hand the look of bewilderment on the faces of the townspeople, who must have feared that life in Iceland would never be the same again.

Thorson’s thoughts returned to the task in hand. Analysis of the cyanide capsule found in Felix Lunden’s flat had confirmed his suspicions: it was a so-called suicide pill, manufactured in Germany. If the user bit down on the capsule, or ampoule, the potassium cyanide it contained would theoretically kill him in a matter of seconds, though in practice it could take as long as fifteen minutes, causing indescribable suffering. It was the first time a capsule of this kind had turned up in Reykjavík, and the intelligence officer was demanding to know how it had come into the hands of the Icelandic police. He was a major, fiftyish, aggressive and gruff, with a pockmarked face and a black glove on one hand. It looked to Thorson as though he was missing two fingers. His name was Major Graham and he had served in the US Military Intelligence Division for many years. With him was his opposite number from British intelligence, who had been consulting the records for any mention of Rudolf Lunden in the period immediately after the invasion. He was somewhat younger than Major Graham and disfigured by a burn that extended from his neck up one side of his face, leaving only a stump of an ear. He had transferred to intelligence after sustaining serious injuries when his plane came down. His name was Ballantine – like the whisky, he said as he introduced himself, adding that he was no relation. The smile that accompanied this remark was more like a grimace. Thorson got the impression that the joke had grown
rather stale.

‘Why would an Icelander be carrying a suicide pill?’ asked
Major Graham. ‘Hidden in a suitcase, you said?’

Sailing out of Reykjavik harbour


We have two copies of The Shadow Killer to give away (UK readers only on this occasion…)

Just pick the correct answer to the question below and pop it in a comment below. The draw will close at midnight on Monday 19th March; I’ll contact you directly if you’re one of the lucky winners!

Question: What’s the name of the dour Icelandic murder detective in Arnaldur Indriðason’s first series?

A) Gylfi Þór Sigurðsson

B) Katrín Jakobsdóttir

C) Erlendur Sveinsson

D) Halldór Kiljan Laxness

E) Yrsa Sigurðardóttir



Have yourself a merry little Christmas… Mrs Peabody’s 2017 recommendations

Here are Mrs. Peabody’s Christmas recommendations for 2017. Drawing on my top reads of the year, this list should contain something to suit even the most well-read crime fiction lover in your life. And don’t forget to treat yourself while you’re at it!

All available from a wonderful independent bookshop near you…

Masako Togawa, The Master Key, trans Simon Cove (Pushkin Vertigo 2017, JAPAN)

Masako Togawa was born in Tokyo and led a rich life as a writer, cabaret performer, nightclub owner and gay icon. The Master Key, her debut, was first published in 1962 and won the Edogawa Rampo Prize. Set in the K Apartments for Ladies (an apartment block similar to the one where the author herself was raised), this off-beat crime novel features an intriguing set of characters – mainly single women hiding secrets, some benign and some criminal. The theft of the master key to all the apartments sets off a sequence of events that disturbs everyone’s equilibrium and risks triggering further crimes. Rich character studies, a 1950s Japanese setting and an original, twist-laden plot deliver high levels of reader satisfaction. Hats off to Pushkin Vertigo for republishing this vintage gem, and to translator Simon Cove for his polished handling of the text. Another Togawa novel, The Lady Killer, is due out next year.

Gunnar Staalesen, Where Roses Never Die, trans. Don Bartlett (Orenda Books 2016, NORWAY)

Where Roses Never Die is the winner of the 2017 Petrona Award. It’s the sixth novel of the famous ‘Varg Veum’ P.I. series to be out in English (set in Bergen on the west coast of Norway), but can easily be read as a standalone. We join private investigator Veum at rock bottom, wallowing in grief and drink, and about to take on a case that will push him to his limits – a cold case whose legal expiry date is drawing near, and which involves the unsolved disappearance of a small girl in 1977. The novel is an elegant fusion of American P.I. conventions and Scandinavian social analysis, but what I really liked was the way the narrative took the reader in an unexpected direction towards the end, delivering an original and convincing denouement.

Thomas Mullen, Darktown (Little, Brown 2016, USA)

Set in Atlanta, Georgia in 1948, Darktown is a murder mystery that also explores a key moment in the city’s history – the first ever induction of eight African American police officers into the Atlanta Police Department. The murder of a young black woman sees two sets of policemen come into uneasy contact with one another: black policemen Lucius Boggs and Tommy Smith, and white policemen Lionel Dunlow and Denny Rakestraw. Each of their characters is superbly delineated, and adeptly used to unsettle racial stereotypes and easy assumptions. The novel is also a stunning portrait of post-war Atlanta, and opens the reader’s eyes to the dangerous and wearing realities of living in a society where racism is deeply ingrained in all areas of life. An excellent, satisfying read (full Mrs P review here). The second novel in the series Lightning Men, is just out.

Kati Hiekkapelto, The Exiled,  trans David Hackston (Orenda Books 2016, FINLAND)

The Exiled, shortlisted for the 2017 Petrona Award, is the third in the ‘Fekete’ series to be published in English, but makes a good standalone due to its atypical setting – Serbia rather than Finland. We join Finnish police detective Anna Fekete as she visits the Serbian village of her birth to see family and take a holiday. But the discovery of a body pulls her into an investigation that raises a number of questions about her own father’s death decades earlier. As well as exploring the complexities of Fekete’s identity as a Hungarian Serb who has made her life in Finland, this accomplished novel looks with insight and compassion at the discrimination faced by Roma people, and the lot of refugees migrating through Europe.

John le Carré, A Legacy of Spies (Penguin 2017, UK)

As a die-hard le Carré fan, I savoured every word of A Legacy of Spies. The novel opens in the present day, and shows Peter Guillam, George Smiley’s loyal right-hand man, being pulled out of retirement to justify his own and other British Secret Service agents’ actions during the Cold War. Of particular interest are the events surrounding the death of an agent and an innocent civilian – events that will immediately be familiar to readers of The Spy who Came in from the Cold. Not only does le Carré pull off the elegant closing of a literary circle – The Spy was his first major success in 1963 – but he also stays true to his core themes: the moral price and human cost of (maybe) safeguarding the nation. A must for any le Carré fan who hasn’t yet read it. And if your reader has not yet had the pleasure of entering le Carré’s world, then why not treat him or her to The Spy who Came in from the Cold and Tinker Tailer Soldier Spy as well (to be read in that order before Legacy).

Jane Harper, The Dry (Little, Brown/Abacus 2017, UK/AUSTRALIA)

The Dry is set in Kiewarra, a small farming community a few hours from Melbourne in south-eastern Australia, which for the past two years has experienced a horrendous drought and sustained financial pressure. Even so, the town’s residents are stunned when Luke Hadler, a respected local farmer, kills his wife and six-year-old son before turning the shotgun on himself. Luke’s childhood friend, Federal Police investigator Aaron Falk, returns to Kiewarra for the funerals, and reluctantly begins to look into the case…and to confront his own troubled relationship with the town. This novel was one of my absolute top reads of the year. The characterization is excellent, the plot is outstanding, and the landscapes and searing heat are brought vividly to life. A gripping police procedural and the first in a series. See the full Mrs P. review here.

Antti Tuomainen, The Man Who Died, trans David Hackston (Orenda Books 2017, FINLAND)

The Man Who Died is a joy from start to finish. It opens with a doctor telling a man he has been systematically poisoned, and that the end is just a matter of time. That man is Jaakko Kaunismaa, a 37-year-old from the small Finnish town of Hamina, who together with his wife Taina exports pine or matsutake mushrooms to the Japanese. Placed in a truly grave situation, Jaakko has to figure out what to do very quickly. The easiest course of action would be for him to give up, but instead he decides to investigate his forthcoming murder with admirable pluck and determination. Comparisons have rightly been drawn between the novel and Fargo: this is a stylish crime caper with lashings of black humour and a lot of heart. A special word of praise too for David Hackston, who also translated The Exile (above). He captures the off-beat humour of the novel perfectly.

Denise Mina, The Long Drop (Harvill Secker 2017, SCOTLAND)

Mina’s The Long Drop, based on the true case of Scottish rapist and murderer Peter Manuel, is a highly original re-telling of the circumstances leading up to his trial in a grimy, rough 1950s Glasgow. What makes the novel stand out is the originality of its storytelling, which expertly weaves together two narrative strands – a long night of drinking by Manuel and William Watt (the husband, father and brother-in-law of three of Manuel’s victims), and Manuel’s trial, which aroused lots of public interest. I found the book unexpectedly gripping, and the quality of the writing and characterization are sublime. Mina doesn’t shy away from describing Manuel’s horrific crimes, but her approach is never salacious, and she provides razor-sharp dissections of masculinity and class along the way.

Elisabeth Herrmann, The Cleaner, trans Bradley Schmidt (Manilla 2017, GERMANY) 

Elisabeth Herrmann’s The Cleaner is a polished, quirky German crime novel that features an outstanding protagonist, Judith Kepler. Judith is a prickly, awkward character who is extremely good at her job, which happens to be cleaning crime scenes for a specialist company in Berlin. As she cleans a flat following a particularly nasty murder, Judith unexpectedly comes across a clue to a mystery in her own East German childhood, and gets entangled in a potentially life-threatening situation. A hybrid detective novel, historical crime novel and thriller, The Cleaner is a gripping and highly engaging read with a wonderfully memorable lead. You may learn some handy cleaning tips along the way as well.

Arnaldur Indriðason, The Shadow District, trans Victoria Cribb (Harvill Secker 2017, ICELAND)

I’ve been a big fan of Indriðason’s ‘Erlendur’ series over the years, and so was delighted to hear that the first of his new ‘Reykjavik Wartime Mysteries’ is out in English. The Shadow District interweaves two stories, one from the wartime past and the other from the present. In the first, a young woman is found strangled in Reykjavik’s ‘shadow district’, a rough area of the city. Icelandic detective Flovent investigates the case together with Thorson, a member of the American military police. In the present, retired police detective Konrad gets sucked into the odd case of a 90-year-old man who has been found dead in his apartment. In the course of the narrative, the two timelines begin to overlap in various ways… An absorbing page-turner that doesn’t hesitate to break some genre conventions.

Wishing you all a very happy festive season!

CrimeFest 2017: Krimi panel, Petrona Award, American Noir, and Icelandic Queens of Crime

As ever, CrimeFest in Bristol was a four day extravaganza of goodness. Here are a few highlights.

First ever Krimi panel at CrimeFest

The four German authors on the Krimi panel – Mario Giordano, Merle Kröger, Volker Kutscher and Melanie Raabe – had never met before, but you’d never have known given the lovely dynamic between them. Each brought a very different kind of crime novel to the event, which made for fascinating and varied discussion.

Clockwise from top left: Mrs P, Melanie, Volker; Jens Boyer (Goethe-Institut London), Mrs P, Mario, Merle, Melanie, Volker; Jess (Mantle), Volker, Melanie, Mario, Merle, Mrs P; Merle and Mario.

Mario is the author of a comic crime novel with a serious edge – Auntie Poldi and the Sicilian Lions – which shows a recently widowed Aunt Poldi arriving in Sicily with the intention of drinking herself to death. Instead, she promptly becomes involved in a murder case and meets a handsome Sicilian police detective… Merle’s novel Collision is perhaps best described as a maritime thriller, and shows four vessels – a cruise liner, a refugee dingy, an Irish freighter and a Spanish rescue ship – crossing paths in the middle of the Mediterranean. Inspired by a short film shot by a cruise ship passenger, it has serious points to make about the refugee crisis and the negative effects of capitalism.

Volker writes historical crime novels – six in the ‘Gereon Rath’ or ‘Babylon Berlin’ series to date – which are set in Weimar Berlin and investigate (in part) the ways the Nazis came to power. The first novel is currently being adapted as a sixteen-part TV series by ARD/Sky, directed by Tom Tykwer, and will air this autumn. And Melanie presented her clever psychological thriller The Trap, which has done incredibly well for a debut, and is in the process of being made into a film by TriStar pictures. It features an intriguing protagonist – traumatised writer Linda Conrads – and explores the themes of grief, loss, isolation, madness and justice.

Erich the Bavarian duck was in attendance

Audience questions led to discussion of how the German authors work with their translators – Imogen Taylor, Niall Sellar, John Brownjohn, and Rachel Hildebrandt/Alexandra Roesch – and there was lavish praise for the very skilled work that they do. The authors also recommended some of their favourite Krimi writers, including Doris Gercke (‘Bella Block’ series, set in Hamburg), Jan Costin Wagner (‘Kimmo Joentaa’ series, set in Finland), Bernhard Aichner (Woman of the Dead, set in Austria) and Simone Buchholz (Blue Night, currently being translated by Rachel Ward for Orenda Books, set in Hamburg).

Thanks once again to our sponsors for making this very special event happen!

2017 Petrona Award

Saturday night at CrimeFest is always a special occasion for the Petrona team, as it’s when we announce the winner of the Petrona Award. This year the award went to Norwegian author Gunnar Staalesen for his crime novel Where Roses Never Die, translated by Don Bartlett and published by Orenda Books.

Here’s what we said about Where Roses Never Die when we announced the shortlist: ‘Grieving private detective Varg Veum is pushed to his limits when he takes on a cold case involving the disappearance of a small girl in 1977. As the legal expiry date for the crime draws near, Veum’s investigation uncovers intriguing suburban secrets. In what may well be the most accomplished novel in a remarkable series, the author continues to work in a traditional US-style genre, but with abrasive Scandi-crime social commentary very much in evidence.’

Both Gunnar and Don Bartlett were at CrimeFest to accept and enjoy the award, and Gunnar paid touching tribute to his ‘perfect translator’ in his acceptance speech. Congratulations must also go to the other shortlisted authors for their wonderful crime novels – gems one and all. Sincere thanks as well to our Petrona Award sponsor, David Hicks, for his generous support.

From left: Gunnar accepting the Petrona Award, flanked by Sarah Ward, Barry Forshaw, Jorn Lier Horst (last year’s winner) and Adrian Muller; Barry, Gunnar, Karen Sullivan of Orenda Books, Don Bartlett, Sarah Ward, Mrs P; Gunnar with Ewa Sherman

Other highlights for me included the American Noir panel, with C.J. Box (‘Joe Pickett’ series) and Bill Beverly (whose exceptional debut Dodgers has raked in prize after prize), and the Icelandic Queens of Crime panel, featuring Jónína Leósdóttir, Solveig Pálsdóttir, Lilja Sigurðardóttir and Yrsa Sigurðardóttir. All four talked very eloquently about their work and Iceland, and also made me want to invite them to a riotous and extremely fun dinner party.

A big thank you to the CrimeFest organisers for another cracker of a year.

Clockwise from top left: Mario Giordano; Barry Forshaw with the American Noir panellists; tea with Ewa and Jacky; Barry moderating the Icelandic Queens of Crime; last but not least – Ragnar Jonasson, Melanie Raabe and Hugh Fraser after their ‘Misfits and Miscreants’ panel.

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. 

The 2017 Petrona Award shortlist

Here we go!!!

Six outstanding crime novels from Finland, Iceland, Norway and Sweden have made the shortlist for the 2017 Petrona Award for the Best Scandinavian Crime Novel of the Year, which is announced today. They are… *drumroll*

THE EXILED by Kati Hiekkapelto tr. David Hackston (Orenda Books; Finland)

Finnish police detective Anna Fekete returns to the Serbian village of her birth for a holiday, but is pulled into an investigation that throws up questions about her own father’s death decades earlier. As well as exploring the complexities of Fekete’s identity as a Hungarian Serb who has made her life in Finland, this accomplished novel looks with insight and compassion at the discrimination faced by Roma people, and the lot of refugees migrating through Europe.

THE DYING DETECTIVE by Leif G.W. Persson tr. Neil Smith (Doubleday; Sweden)

Lars Martin Johansson, a retired Swedish Police Chief, suffers a stroke after a lifetime of unhealthy excess. Frustrated by his physical limitations and slow recovery, he is drawn into investigating a cold case, the murder of nine-year-old Yasmine Ermegan in 1985. Expertly plotted and highly gripping, The Dying Detective features characters from a number of other crime novels by the author, but succeeds brilliantly as a standalone in its own right. You can read Mrs Peabody’s review here.

THE BIRD TRIBUNAL by Agnes Ravatn tr. Rosie Hedger (Orenda Books, Norway)

Former TV presenter Allis takes up the post of housekeeper and gardener at a house on a remote fjord. But her employer is not the old man she was expecting, and the whereabouts of his wife are tantalisingly unclear. Isolated from other villagers, Allis and Sigurd’s relationship becomes progressively more claustrophobic and tense. A haunting psychological thriller and study in obsession that is perfectly complemented by the author’s beautiful, spare prose.

WHY DID YOU LIE? by Yrsa Sigurđardóttir tr. Victoria Cribb (Hodder & Stoughton, Iceland)

Yrsa Sigurđardóttir is as adroit a manufacturer of suspense as any writer in the Nordic Noir genre, as this standalone thriller comprehensively proves. Why Did You Lie? skilfully interweaves the stories of a policewoman whose husband has committed suicide, a work group stranded by hostile weather on a remote lighthouse, and a family whose American guests go missing. A compelling exploration of guilt and retribution, which builds to a nerve-jangling finale.

WHERE ROSES NEVER DIE by Gunnar Staalesen tr. Don Bartlett (Orenda Books, Norway)

Grieving private detective Varg Veum is pushed to his limits when he takes on a cold case involving the disappearance of a small girl in 1977. As the legal expiry date for the crime draws near, Veum’s investigation uncovers intriguing suburban secrets. In what may well be the most accomplished novel in a remarkable series, the author continues to work in a traditional US-style genre, but with abrasive Scandi-crime social commentary very much in evidence.

THE WEDNESDAY CLUB by Kjell Westö tr. Neil Smith (MacLehose Press, Finland)

This multilayered novel tells the story of how a crime is triggered following the chance meeting of two people in a lawyer’s office. While the narrative can be seen as a tragic individual story, it also takes on larger historical dimensions as it unfolds. Set in Helsinki in 1938, on the eve of the Second World War, The Wednesday Club offers an insightful exploration into the legacy of the Finnish Civil War, and the rise of German and Finnish fascism in the present. You can read Mrs. Peabody’s review here.

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: 

“It was difficult to choose just six crime novels for the Petrona Award shortlist this year, given the number of truly excellent submissions from around the Scandinavian world. Our 2017 Petrona Award shortlist testifies to the extremely high quality of translated Scandi crime, with authors from Finland, Iceland, Norway and Sweden making expert use of police investigations, psychological thrillers, private eye novels and historical crime fiction both to entertain and to explore pertinent social, political and historical issues. We are extremely grateful to the translators for their skill and expertise in bringing us these outstanding examples of Scandinavian crime 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 20 May during CrimeFest, held in Bristol 18-21 May 2017.

The Petrona team would like to thank our sponsor, David Hicks, for his generous support of the 2017 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

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.


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? 

Eva Dolan’s After You Die (UK), Val McDermid’s Out of Bounds (UK) and Iceland Noir 2016

My reading mojo has been largely restored courtesy of two fine British authors, Eva Dolan and Val McDermid.


Eva Dolan After You Die (Vintage 2016)

After You Die is the third novel in Dolan’s ‘DI Zigic and DS Ferreira’ series. Like its predecessors, it’s a skilfully crafted police procedural set in Peterborough, and features a hard-hitting crime: the murder of a woman, Dawn Prentice, and the possible murder of her severely disabled daughter, Holly. Dolan uses the investigation to explore a number of weighty issues, such as hate crimes, internet abuse and right-to-die debates, but does so with a deft touch, so that readers never feel like they’re being lectured. The characterisation of the Hate Crimes team and its suspects is also excellent – there’s lots of beautifully observed, authentic detail that grounds these figures in a recognisable reality. The development of DS Ferreira’s character after the events of the previous novel, Tell No Tales, is particularly good.

If you’re new to this series, you might like to start with the opening novel, Long Way Home, which is a very accomplished debut.


Val McDermid, Out of Bounds (Little Brown, 2016; Whole Story audiobook narrated by Cathleen McCarron)

Out of Bounds is the fourth book in the ‘DCI Karen Pirie’ series, set in Edinburgh and Fife. I haven’t read the others yet, having dived in to this one by chance, but am now very keen to do so (the first is The Distant Echo).

Detective Chief Inspector Pirie, who heads up Police Scotland’s Historic Crimes Unit, is tenacious, resourceful and prepared to bend the rules in the service of justice. Her job is to review cold cases when new evidence comes to light – such as when a teenage joyrider’s DNA profile links to DNA from a young hairdresser’s murder two decades earlier. In a parallel investigation, an odd-looking suicide leads Karen to examine an old murder that was presumed – possibly erroneously – to have been caused by an IRA bomb.

There were two aspects of this novel that I particularly enjoyed. The first was the depiction of a strong Scottish policewoman leading multiple investigations with aplomb – a nice counterpoint to Ian Rankin’s Rebus. While facing plenty of personal and professional challenges, Karen is kept going by a combination of her own determination and the support of close friends. (The emphasis on the importance of friendship reminded me a little of Claudia Piñeiro’s Argentinian crime novel Betty Boo). The second was the plotting masterclass McDermid provided as she moved effortlessly between the developments in the individual cases while maintaining a clear, unified narrative. I remember hearing the author argue, in a debate on crime fiction vs ‘high literature’, that plotting is a skill that is often underestimated and overlooked, and think her point is beautifully made in this novel.

One extra thought: I listened to the audiobook version, expertly narrated by Cathleen McCarron. I think that this added to my enjoyment of the book, because it allowed me to hear and appreciate the novel’s Scottish inflections and turns of phrase.


As it happens, Val McDermid is one of the headliners at Iceland Noir 2016, which is taking place right now in Reykjavík (hope you’re all having a great time!). Val gave the convention’s opening address on Thursday evening – as reported here by CrimeFictionLover – in which she rightly asserted that ‘there ain’t no cure for loving crime fiction’. 

You can check out Iceland Noir’s programme here and its featured authors here. It’s a great convention and I would thoroughly recommend going. Hope to make it in 2018!

If you’re new to Icelandic crime, here are some earlier Mrs Peabody posts on the subject:

Indriđason’s The Draining Lake

Sigurðardóttir’s Why Did You Lie?

Icelandic TV drama Trapped

Quentin Bates interview about his ‘Gunnhildur (Gunna) Gísladóttir’ series

Ragnar Jónasson’s ‘Dark Iceland’ series – translation special


Heading out to sea from Reykjavík harbour, 2014

Bad case of Weltschmerz? Try Indian elephants, Icelandic chills and Series 2 of The Code

Tearing your hair out over Brexit? Anxious about the US election results? Worried about the bees and climate change? If so, you may be suffering from a German malady called Weltschmerz – a sense of frustration, pain and despair at the state of the world (Welt = world; Schmerz = pain, ache, sorrow).

When Weltschmerz strikes crime fans, certain reading difficulties may arise. You may not feel in quite the right mood to tackle a social crime novel revealing further grim realities about the world, or noir crime devoid of the faintest glimmer of happiness or hope. You may instead find yourself drawn to crime that provides a refreshing antidote or escape, also known as Respite Crime.

Option 1. Comedy crime involving baby elephants


Vaseem Khan, The Unexpected Inheritance of Inspector Chopra. A Baby Ganesh Agency Investigation (Mulholland Books/Hodder, 2015)

Any crime novel that’s been called ‘utterly charming’ (The Guardian) or ‘endearing’ (The Sunday Times), would normally make me run for the hills. The same goes for crime series that use excessive whimsy (‘No. 1 Ladies’ Detective Agency’, I’m looking at you). While The Unexpected Inheritance of Inspector Chopra strays into such territory occasionally, there’s enough grit about modern-day Indian life in Mumbai to give this novel plenty of interest and depth.

The opening shows Inspector Ashwin Chopra, who’s about to retire from the police, discovering that he’s inherited an Indian elephant from his uncle Bansi. A cute, baby elephant. When Chopra investigates one last case – the suspicious death of a young man found on some waste ground – policeman and elephant form an unlikely investigative team. It’s a well-written, entertaining and satisfying read, and a funny, life-affirming antidote to Weltschmerz.

Did I mention the baby elephant? He’s really cute.

Option 2. Scare yourself witless with terrifying Icelandic crime


Yrsa Sigurðardóttir, Why Did You Lie?, trans by Victoria Cribb (Hodder and Stoughton, 2016 [2013]; a 2017 Petrona Award submission).

Or you could go completely the other way and immerse yourself in a chilling world where hapless individuals are being killed off one by one for telling lies. Yrsa Sigurðardóttir’s Why Did You Lie? skilfully interweaves three narratives: that of a young policewoman whose journalist husband has recently committed suicide, a work group stranded on the Þrídrangar lighthouse as hostile Icelandic weather closes in, and a family who return after a house-swap to find their American guests are missing. The author has an impressively fertile imagination and expertly ratchets up the suspense. It’s perhaps not one to read too late at night, but is brilliant at keeping Weltschmerz at bay. You’ll simply be too terrified to think about anything else.


The Þrídrangar lighthouse

Option 3. Lose yourself in some top-quality crime drama set on the other side of the world

By happy coincidence, the second series of outstanding Australian political thriller The Code starts on BBC4 this Saturday 22 October at 9.00pm. Series 1 aired back in 2014 – you can read my post on it here.


Opening episode: After the events of series 1, journalist Ned Banks and his computer hacker brother Jesse face the prospect of being extradited to the US to face criminal charges. Fortunately for them, Australian National Security has an explosive case it can’t crack, and Jesse may be the man to do it. The brothers also encounter black-market king Jan Roth, and risk being drawn into his shady world. 

If those options fail, treat yourself to this lovely clip of Mike, aka the ‘Hamster of Serenity’. Here he is eating a carrot. If you turn the volume up you can hear him munching.

THIN ICE extract & Quentin Bates interview: Gunna, Iceland and Trapped

I’m delighted to welcome crime author Quentin Bates to the blog. Thin Ice, his latest novel, has just been published by Constable and features one of my all-time favourite investigators, Icelandic police officer Gunnhildur ‘Gunna’ Gísladóttir. Below, Quentin answers questions about writing the character of Gunna, the kind of Iceland he tries to depict, and the recent Icelandic crime drama Trapped. But first, here’s an exclusive extract from Thin Ice

Thin Ice

The little boy’s eyes were wide with a mixture of excitement and trepidation. He swung his legs under the chair that was too high for him while his mother fussed making coffee.

‘Tell the lady what you saw, Nonni,’ she said. ‘It’s all right. You’re not in trouble.’

‘Are you really a policeman?’ he asked and corrected himself. ‘A police lady, I mean?’

‘I am,’ Gunna assured him. ‘I’m a real-life detective.’ 
‘Who solves crimes and catches bad people?’ 
‘Sort of. That’s only part of what I have to do, and most of it isn’t all that exciting.’ 
‘Do you have a gun?’ Nonni asked, eyes wide. 
‘No, we don’t carry guns,’ Gunna said, and his disappointment was immediately visible.
 ‘So what do you do if you meet someone bad who has a gun?’ 
‘I don’t know. It hasn’t happened yet. So I don’t know what I’d do,’ Gunna said and picked up the mug of coffee that had appeared in front of her, while Nonni got a glass of squash and a slice of cake, which he bit into.

‘What would you have done if you had seen the man I saw today?’ he asked in a serious voice. ‘He had a gun and I saw him shoot it. Would you have been frightened?’

‘I expect so,’ Gunna said. ‘Guns are very dangerous things. Were you frightened, Nonni?’

He thought as he chewed his cake and washed it down with squash.

‘I wasn’t at the time, but I was afterwards,’ he decided. ‘But he didn’t see us, so we were all right.’


Mrs P: Quentin, you’re in the unusual position as a British author of having lived in Iceland for many years. How has that experience – together with your ongoing links to the country – shaped your ‘Icelandic Murder Mystery’ series and Thin Ice?

Quentin: To begin with I shied away from the idea of using Iceland as a backdrop when I started toying with the idea of fiction. There were a few false starts, until it dawned on me that it would be plain daft not to use all that knowledge, insight and experience, so that’s when Frozen Out started to take shape. Being familiar with the language gives you a huge advantage in being able to understand the intricacies of Iceland’s internecine politics and much of the subtext to what goes on that an outsider simply wouldn’t be aware of, as well as being able to laugh at all the otherwise incomprehensible jokes.

Nightblind 2

Author Quentin Bates aka Graskeggur (grey beard)

Quentin: I was in Iceland a lot in 2008. First in January and it was business as usual, then two visits in the spring and summer when it was becoming clear that something was up. Nobody wanted to say much out loud, but everyone knew something was seriously wrong. It was common knowledge that the banks’ coffers were empty, but this wasn’t reported anywhere. Everyone knew something momentous was about to happen, but nobody had a real idea of when or how hard it would hit. Then I was there in that week in the autumn when the first of the three banks went belly-up. It was painful and fascinating. People were genuinely frightened, and also deeply confused with no idea what was going to happen to their jobs, homes, etc. The aftermath hurt and it was painful to see friends and relatives lose jobs and homes.

I couldn’t not use it. I was working on Frozen Out at the time and re-wrote a lot of it so it coincided with that truly unnerving couple of weeks when all the cards had been thrown in the air and nobody knew anything.

Icelandic bank crisis

One of the three Icelandic banks that collapsed in 2008

Mrs P: Which particular aspects of Icelandic society have you been keen to share with English-language readers via your crime writing?

Quentin: Let’s say I prefer to avoid the clichés, the stuff the tourists see. Very little of my stuff seems to be set in Reykjavík 101, the central district where all the hotels, bars and whatnot are, which is hipster central these days, lots of manbuns and frothy coffee. I’m happier with the outlying parts of the city and the surrounding towns that are so different to what many visitors see. I can’t avoid mentioning some of the bizarre foodstuffs… all of which I prefer to keep well clear of.

Salted fish

Salted fish (we have chosen not to show fermented shark or sheep’s head on this occasion)

Quentin: What I really like to try and work in there is the quiet, subtle humour of the older generation of Icelanders that has its roots in a time when Iceland was a very different place. It’s a humour so bone-dry that it’s easy to miss it, and it can fly right over your head if you’re not watching out for it.

Mrs P: Icelandic police series by authors such as Arnaldur Indriðason and Ragnar Jónasson feature male detectives. What made you decide to create a female police investigator?

Quentin: I didn’t set out to create a female investigator. She just appeared. Originally Gunnhildur was the sidekick to a fairly dull male main character who just didn’t click. He was so forgettable that I can’t even remember what name I gave that ill-thought out character back in that very first draft of Frozen Out. He was quite quickly jettisoned once it had occurred to me that the sidekick was the more interesting character, and she did demand attention.

To my surprise, I didn’t find it especially difficult to write a female character. People seem to like her and say she’s realistic, but I think I’m too close to her to be able to judge. I’m sure it would have been much harder to get to grips with a much younger prominent character of either sex – I feel the gender gap was easier to bridge than a significant age gap would have been.

Hinrika by redscharlach

This wonderful drawing by @redscharlach is of Hinrika in Trapped, but she really reminds Mrs P of Gunna as well

Mrs P: Tell us a little about the way you depict Officer Gunnhildur in the series.

Quentin: Initially she was supposed to be older, in her mid-forties in Frozen Out and about five years older than that today. But the publisher wasn’t happy and wanted a character with a career ahead of her rather than someone with an eye on retirement – preferably much younger. Eventually we compromised and she was transformed into a more youthful but still mature character, which meant reorganising her family circumstances, making her children younger etc. – essentially re-working the entire back story.

Gunnhildur is a character who is definitely not from Reykjavík, and she was deliberately given roots in a coastal region in the west so she can have something of an outsider’s point of view. That’s why she and Helgi connect so well, as he’s also from a rural background in the north and they share a similar background as immigrants to Reykjavík, while Eiríkur is a city boy with little in common with his two middle-aged (or ancient, as he would see them) colleagues.

Gunnhildur’s boyfriend (if I can call him that) was a late addition. It was made clear with the original draft of Frozen Out that a little love interest would be desirable, so I introduced Steini, not expecting him to stay for long. But he’s still there and has become a surprisingly important character, even though he doesn’t appear all that frequently. Maybe it’s time to involve him in some nefarious crime…

Iceland map

Gunna hails from the west of Iceland

Mrs P: Have your crime novels appeared in Iceland (either in Icelandic or in English)? If yes, what kind of reception did they have?

Quentin: The books have been for sale in English in bookshops in Iceland, although I don’t know how many have been sold there and I’m not aware of any feedback from Iceland. They haven’t been translated into Icelandic and I don’t seriously expect they will be.

The problem is that so many Icelanders speak English that they tend to snap up stuff in English. I know of several big sellers in English whose Icelandic publishers gave up on them for just that reason – people wouldn’t wait six months for an translation to appear. It’s almost the opposite of the situation 20-30 years ago when Nordic languages were more prevalent. In that distant age before cable TV and the internet, fewer people spoke English readily and there were more books translated from English and fewer from Nordic languages, presumably because more people would read those in the original. Now only guaranteed top-sellers make it into translation from English and there seem to be more Danish, Swedish and Norwegian books translated into Icelandic.

What I’d really like to see is one of the Gunna novels filmed in an Icelandic production, but that’s an even longer shot than getting a translation.


Reykjavik is packed with funky bookshops

Mrs P: You’re the translator of Ragnar Jónasson’s crime series (Orenda Books). Has the process of translating his works had any impact – positive or negative – on your own crime writing or the way that you approach writing your own novels?

Quentin: Ragnar’s stuff is very different from mine, so I’m not aware of any particular influence there. One of the keys to being able to translate competently is familiarity with the culture and background as much as the language itself, so I guess that having written my own crime fiction also means that I have something of a criminal vocabulary ready to use. But writing and translation are very different. Translation calls for some of the same skills as writing fiction – a different set of tools from the same toolbox – as well as the discipline not to be tempted to tinker with the original, albeit within some rather elastic limits.

The negative impact is that I’m so busy now with translation, with three of Ragnar’s books to deliver this year, that I’m struggling to find time for Gunnhildur and the other things at the back of my mind that I’m itching to get to grips with but daren’t start.


Mrs P: Trapped, a gripping Icelandic crime drama, has just finished airing in the prestigious BBC4 Saturday-night crime slot. Do you think it will significantly help to raise the profile of crime fiction set in Iceland? And how was it received in Iceland itself?

Quentin: I would imagine that Trapped should lift the profile of Icelandic crime fiction tremendously and can only hope it does for Iceland what The Killing and The Bridge have done for Sweden and Denmark – not just raising the profile of crime fiction but awareness about those countries and their cultures in a more general way. It’s something that ought to give us all a boost.

I’m not entirely sure how Trapped was received in Iceland, as I’ve been getting some mixed messages. On the other hand, it got good viewing figures with something like 60% of households watching it (also good ratings in France and Norway) and I’d hazard a guess that a lot of people who said they weren’t all that bothered about it actually spent those evenings glued to the box.

There have been a few disparaging comments about it being unrealistic. But come on – this is a crime drama. Of course it’s never going to be entirely realistic and there’s no getting away from a certain suspension of belief that has to take place to make the story work.
 But the snow scenes were very reminiscent of the winters I spent in the north of Iceland, not all that far from where some of Trapped was filmed. My feeling is that Trapped is a far more accurate representation of coastal Iceland than Midsomer Murders is of rural Hampshire, but I get the feeling that Icelanders watched it in much the same way that we watch Inspector Barnaby at work.

Iceland Noir

Mrs. Peabody attended Iceland Noir in 2014 and can thoroughly recommend

Mrs P: You’re one of the founder members of Iceland Noir. How has the convention developed since it started in 2013? And are there new directions that you’d like to take it in future?

Quentin: Iceland Noir started in 2013 on a wing and a prayer as a one-day free event as we pulled in favours here and there to get it off the ground. That was fine for a one-off, but we quickly realised we couldn’t keep it free, so now we charge the lowest festival pass fee that we can.

The second Iceland Noir was bigger and better, and stretched to two days. The third one is planned to be two and a half days, mostly because of the level of interest in it, but that also means more organisation. So the original trio has been added to, with Lilja Sigurðardóttir joining us in ’14 and Grant Nicol this year. So now we have five pairs of hands instead of just three.


A panel from Iceland Noir 2014

My feeling is that we should keep it at two to three days. Any longer than that is likely to be too much of a good thing. I’m also very much in favour of keeping it as a fairly informal, low-cost, non-profit enterprise. So far we’ve been satisfied if we’ve all had a good time with a bunch of criminally-minded people and not lost any money, so I’ll be happy if it stays that way. But the amount of time and effort involved means that holding it every year is possibly going to be too much, so like last year (when we lent the November date to Shetland for their excellent festival), we’d like to continue with Iceland Noir every second year and to lend the slot to some other suitable location in the off years. Shetland was 2015, and it looks very much like Hull will be 2017, as that’s a European City of Culture that year, and that will fit nicely for us to be back in Reykjavík in 2018.

This year we have an outstanding line-up of female crime writers as headliners. But I’d really like Iceland Noir to be the place where you can also see tomorrow’s interesting and exciting talent, not least because it’s so damn hard as a debut novelist to get any attention and there’s so much good stuff that deserves it. This year we have some truly excellent new writers taking part. Reykjavík was where you saw them first and that’s something I’d like to continue.

Many thanks, Quentin! 

Catch some other stops on the Thin Ice blog tour here:


Trapped: New Icelandic crime drama airs Saturday 13 February on BBC4

BBC4’s weekend crime slot moves from Montalbano’s sunny Sicily to a chilly northern Iceland on Saturday 13 February. Trapped, the channel’s first Icelandic crime drama, begins with two back-to-back episodes at 9.00pm (there are 10 episodes in total). This RVK Studios series will give many British viewers their first taste of the Icelandic language (subtitles also at the ready, of course).


Trapped seems to be set in the east-coast port of Seyðisfjörður (although some of it was filmed in the northern port of Siglufjörður, which features in Ragnar Jónasson’s ‘Dark Iceland’ crime series). The opening episodes show three events happening almost simultaneously: a ferry with three hundred passengers arriving from Denmark, the discovery of a corpse in the water, and the onset of a violent snowstorm. The storm prevents the ferry from leaving and blocks roads in and out of town, trapping the passengers and townsfolk with the killer. Step forward Police Inspector Andri, who is tasked with investigating this high pressure case…

Here’s a trailer, which looks quite brooding and scary (may need to hide behind the sofa for bits of this one):

The BBC’s Sue Deeks had this to say about Trapped following its acquisition for BBC4: “A truly gripping storyline, stunning Icelandic setting and renowned feature film director Baltasar Kormákur (Everest) was a combination impossible to resist. Trapped will be our first Icelandic drama series and I am certain that BBC Four viewers are in for an absolute treat.”

Trapped stars Ólafur Darri Ólafsson (The Secret Life Of Walter Mitty, True Detective) in the lead role and is joined by Bjarne Henriksen (Borgen, The Killing), Ingvar E Sigurðsson (Everest, K19 The Widowmaker), Ilmur Kristjánsdóttir (Virgin Mountain, White Night Wedding), Nína Dögg Filippusdóttir (The Sea) and Björn Hlynur Haraldsson (Borgias, Fortitude). The series is written by Sigurjón Kjartansson and Clive Bradley, and is produced by Baltasar Kormákur and Magnus Vidar Sigurdsson.


Well, that was a brilliant start. This is a high quality crime drama that has the potential to develop into a really great series. The first episode set up the different strands of the narrative very nicely: a mysterious fire, the ferry’s arrival, the discovery of the body and the complex personal life of police chief Andri. The actors are great, the writing is crisp with occasional wry humour, and the cinematography is excellent, making the most of the dramatic Icelandic landscape and weather. Wrap up warm when watching, because it’s almost impossible not to feel chilly with that blizzard swirling around.


Andri and his police team

It was lovely to hear Icelandic, mingled in with some English and Danish (the captain of the Danish ferry will be immediately recognizable to fans of The Killing I and Borgen). I liked Andri and his down-to-earth female police colleague Hinrike very much, and was amused to see the Reykjavik police investigators depicted as arrogant city slickers (there’s some friction here that will hopefully be explored in later episodes).

Update: Just watched episodes 7 and 8, which were both excellent. The plot continues to thicken, and the quality of the screenwriting and acting remains extremely high. Andri and Hinrike make a brilliant team. Can’t wait for the finale next week.

One last tidbit: the Icelandic title of the series is Ófærð, which means ‘impassable’ – the word on the sign signalling road closure due to bad weather. Looking forward to more immensely.


In other TV news, Sunday 14 February brings us the feature-length finale of Deutschland 83. This East/West German spy thriller has been an absolute gem, and has elicited an incredibly enthusiastic response from British viewers. I’ll blog my thoughts on the series as a Germanist and fan once the roller-coaster ride is complete!

D83 13