Anyone who is already a fan of Jo Nesbo and his nail-biting Nordic noir mysteries will enjoy this non-stop, action-packed continuation of the Harry Hole series. Many of the familiar characters (and enemies) are back as Harry is persuaded to return from Hong Kong, where he has been spending his “hiatus” from the Oslo Crime Squad in an alcoholic haze. He is now in debt to the Hong Kong Triad, which as taken his passport to prevent his leaving without paying his debts. Three gruesome murders have taken place back in Oslo while he has been gone, however, and investigators are exploring the possibility of yet another serial killer on the loose. Harry Hole is the best in the business in tracking down serial killers, having just resolved the case of The Snowman, a particularly vicious killer of women, and the Oslo Crime Squad wants him back. By far the most complicated of the Harry Hole novels so far, this one is a special challenge at six hundred eleven pages, and readers of The Snowman will have an advantage in understanding some of the characters who reappear here.
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Norwegian writer Jo Nesbo’s latest novel is a stand-alone, not part of his Harry Hole series, and it provides yet another example of Nesbo’s immense talent as a story-teller. In this novel, however, Nesbo lets his darkest, most deadpan humor loose in a wild but carefully constructed mystery in which the several sections of the novel parallel textbook recommendations regarding interviewing and hiring candidates for executive positions – seemingly a straightforward process. Nesbo turns the whole thing all on its head, however. Nesbo’s “headhunter,” Roger Brown, though much in demand both by individuals looking for new opportunities and by corporations seeking the perfect new president, is a loathsome human being, but he is as close to a “hero” as one gets in this page-turner. He has powerful enemies who are at least as clever, at least as opportunistic, and certainly as amoral at he is. By limiting his focus to these characters, however, Nesbo frees himself from the limitations of a police procedural and can take his story in new directions, omitting the law entirely from almost all of the action, and creating a plot in which Roger Brown and his enemies essentially play a game in which the “king of the chessboard” is the person who survives.
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As close to perfect as a mystery can get, Denmark’s #1 crime writer, Award-winning author Jussi Adler-Olsen’s first novel to be translated into English has something that will entertain everyone. Very exciting with a unique plot, and filled with characters with whom the reader will identify, the novel is complex but not so dependent on odd details that the reader gets lost in complications, genuinely heart breaking in places without being sentimental, warm, and often very funny, to top it off. As fun to read as the novel is, Adler-Olsen also has something to say about contemporary life, creating an underlying thematic structure which carries a powerful kick as the novel comes to its conclusion. Who could want more than that? The first of his four Department Q novels to be translated into English, this is the beginning of a remarkable new series which has sold over a million copies in Denmark, which has a total population of only 5.5 million people.
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The structure of a folk song, as author Monika Fagerholm describes it here, explains the overall structure of this novel, with many repetitions through time and space, through past and present, and through new generations and old. Points of view constantly change among the many characters as the chronology moves between 1969 and 2012 and back. Bits of information are provided about one character in one section at one moment in time, contradicted in another section, and denied completely in yet another. Different characters go to the same places at different times and perform the same actions, but the results may be described differently, and may actually be different, depending on who is telling the story. If this sounds complex, it is. Finnish author Monika Fagerholm challenges the very nature of story telling in this novel, which has, at its heart, a series of dark mysteries which echo through more than one generation.
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If ever there were anyone who had an excuse to grind axes, it would be Eva Gabrielsson, who lived with author Stieg Larsson for thirty-two years but who, through a loophole in Swedish law, inherited nothing upon his death at age fifty in November, 2004, his entire estate going, by law, to his estranged brother and father. Gabrielsson has said many times, and repeats often throughout this book, that she is not personally interested in the enormous sums which the posthumous sales of his Millenium Trilogy have generated—forty million books sold, plus rights to audiobooks and films, including three Swedish films and one American film not yet released. As dedicated to social causes as Larsson was, she is fighting, instead, for control of his literary legacy, especially alarmed because “a myth has sprung up: the ‘Millennium Stieg’…[which] casts him as the hero of the trilogy…[though] Stieg didn’t wait for the Millennium books to be what he was.”
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