Book Review: The Girl Who Lived Twice by David Lagercrantz

Photo: The hardcover's cover, from Goodreads

Very, very good book, a bit of an improvement over Lagercrantz's previous in this series, which I didn't like as much. (To be fair, I really loved his first one, taking over for Larsson.) I'm not totally thrilled with the writing of the ending, though the ending itself was fine. But that's probably just my preference. The reader will have to judge for him/herself. I guess it depends on how you mind, or don't, how an author blatantly stops the progress of an action sequence to show characters talking about something important. It's done not to info-dump--though it may come across as that here--but to artificially create cliffhangers that keep the pages turning. That's a device that Nordic Noir takes to an extreme, and it's done here. I dealt with it, but didn't prefer it. Others may be more, or less, bothered.

For beginning novelists, which I still think I am, despite the many (over and over) I've written, take a look at the structure. The Prologue begins like any of the many police procedurals on TV: with the death of a character that starts the plot rolling. I'm really interested about this one because as I read, it became clear fast that this book could've started with any number of scenes, including the deaths during a blizzard on a mountainside, or maybe Salander's attempt on her sister. I think most authors would've started there, even in a prologue. That didn't happen here, because the main plot is that of the murder shown, which leads to Blomkvist's appearance, and not that of Salander's conflict with her sister, which ends up engulfing everyone at the end. It's also up to the reader as to which one he finds more intriguing, but it explains the split-screen writing at the end. This is strange, as the main characters essentially get ensnared in the subplot, and the minor characters end up resolving the main plot. Weird, but interesting, if you're into reading into writer's choices.

I gave this 4 stars, rather than 5, because of this oddity. It wasn't handled badly, just strangely. As for the book itself, there's a lot going on here, maybe too much, and I can't help but feel that the author could've held off the plot-string involving Salander's family, as it seems more tacked-on here. The main mystery is interesting enough, but I also understand why Lagercrantz did it: It ends the second trilogy's plot-string, as if maybe the series itself will end and he felt he had to wrap this up. Maybe he's got a different plot-string for another trilogy already outlined, ready to go. I don't know, but it seemed largely unnecessary, except that each of these books is "A Lisbeth Salander Novel" and not "A Mikael Blomkvist Novel" or anything else. She is the main plot, not whatever mystery is given to us. I get that, and I don't, and I can abide by it, and I don't like it, all at the same time.

The cooly distant tone and writing are staples of Nordic Noir, so I was good with them. A little more disconcerting is how Blomkvist--a writer for a successful news and politics magazine--is treated like a rockstar. Everyone knows who he is, and he's stopped on the street for autographs. I know the Nordic countries have much higher literacy and readership numbers than does the U.S., but this has always struck me as off in this series, in all six books. War correspondents and writers of great importance should be treated like rockstars, but they're not. Nobody knows them. I like to think of large crowds suddenly stopping James Ellroy on the street as he's hailing a cab, clamoring for his autograph, but that doesn't happen. Yet Blomkvist is mentioned by name and image on TV, and he's clearly a celebrity in his own Millennium universe, but more than anything else in this series, that's always been a head-scratcher to me. He's a pale, portly figure who woman trip over to sleep with, too, but...well, you get the idea. You're okay with all that, or you wouldn't be reading the 6th book in the series by now. But it's all an eye-roller for me, and I just had to say so.

Ultimately this one is well worth your money. Salander, despite it being her series, is hardly in it but for the beginning and for the end, and she doesn't say more than 20 words in the whole book, but you're used to that by now, too. Yet I'd be okay with giving her more to say and do in the next one. The last few sentences of this one hint that maybe the author thinks so, too. Read and enjoy. 

Nemesis--Book Review

Photo: Paperback cover of the book, from this website.
 
Yet another great Nordic Noir.  Nesbo is right up there with Mankell and (in the first two books of the series, anyway) Steig Larsson.  Mankell is a bit more abruptly gritty (still can't forget he had his main character make a brief mention of soiling himself) and Larsson was a bit more character-driven, but all three are giants in the genre, and deserve to be.

In this one, Hole is face-to-face with yet another ex-girlfriend (he's got lots of those, as he's a work-obsessed alcoholic), who apparently still holds some sort of grudge against him.  But she's beautiful, and Hole may, or may not, have had something to do with her dying.  This happens further into the book than you'd think.  Nesbo handles that well, though I suspect that a lesser writer wouldn't.  And Nesbo is successful enough to ignore the adage of agents: The crimes need to happen right away.

One crime that does happen right away is a bank robbery.  There've been more than a few of those over the years, with maybe the same M.O.--but maybe not.  Throw in a feud with another cop and an infamous prisoner related to the woman described above, and there's much going on here.

As with many Nesbo books, this one seems to end two or three times before it finally does, which became a little distracting for me here, but not overly so.  There was more to solve, and it's right that crimes like these don't get neatly solved and gift-wrapped quickly, like they do on TV and in the movies.  Plus, there's the slightly strung-together storyline with his on-and-off current girlfriend and her son to deal with.  (They'll come into play big-time in Nesbo's Phantom, to be reviewed soon.)

The crimes themselves shouldn't throw an established reader of this genre.  I had the bank robbery and the ex-girlfriend's demise figured out almost right away, though I didn't catch on to the signature in the emails.  (This is rather embarrassing, as one should always be able to explain the book's title in relation to the story.)  That is, I knew what had exactly happened, and by whom, but with no proof whatsoever.  Nesbo's books work well that way: For all the good writing, the characterization and description, it all boils down to a procedural.  Watching how Hole solves it all and gets the evil-doers despite himself and his flaws is the whole ride.

The Bat, by Jo Nesbo (Harry Hole #1)--Book Review

 Photo: Paperback book cover, at this page.

The Bat is a very well-written and very different entry into the Nordic Noir genre.  It takes place in Australia, first of all, and its chapters differ in length and in substance, as some are there strictly for plot, while others show a quick glimpse into Hole's background and personal life.  Other quick chapters are thematic only.  The result is that you never know what to expect when you begin another chapter, and that's good for any type of writing, and in any series.

The plot plays second-fiddle to the characters and to the mood and tone, for the first half or so of the book.  It then takes off and shoots through its second half, with the body count (and the red herrings) piling up.  But it still manages to pause for some interesting characters, including a parachutist / homeless man, a beautiful woman, a serial killer, a transvestite clown, and other assorted eccentrics.  It's not so quirky as it sounds, and it all comes across very real.

There's a bit of info dump along the way--about Australia, about Aborigines, about the drug climate, about the city of Sydney, about clowns and the history of clown performances...but it never stops the flow of the narrative or of the plot, like in so many Dan Brown thrillers, or others of that ilk.  You learn as you go, and Nesbo is clearly interested in what he writes about.  It comes as close as info dump can to stopping the narrative cold--but it doesn't.  It works.

Two minor caveats involve the length of Hole's drunken binge (a little too long) and the sudden demise of two of its characters, an Aboriginal detective and a pretty barmaid.  The pretty woman especially is given short shrift at the end, but even this complaint is tempered by the mood of the book, as it shows other women in Hole's life who met quick, sad ends.

The book is certainly moody--both in an uplifting and in a sad way.  I found it more the latter than the former, but that's up to the reader.

The bottom line is that this is a welcome change from the harsh climate--both literally and metaphorically--of most Nordic Noir, and yet is similar to it in enough ways that it clearly belongs in that genre.  As one of the blurbs says, it takes on the cliches and starts new ones.

Definitely recommended.