The girl who played with fire

The girl who played with fire, Stieg Larsson, Barcelona, Columna, 2009 (2005)
The second volume of Millennium has an obvious continuity in reference to characters, Michael Blomkvist and Lisbeth Salander. Much has been written lately about the lack of interest in this second volume from the first, there is nothing more true than this. We face a new writing, with agility, with a handful of clues that linked perfectly subplots of the first volume, a magnum opus of one who was destined to raise a lot of readers around the world and know that his death prevented.
I heard an interview with Eva Gabrielsson, his wife and companion, due to legal problems (there was a civil marriage between them), has lost some inheritance rights that have been left to the family (father and brother, apparently). So I echo just an initiative, a platform that seeks the reward at least symbolic of the woman who accompanied him for more than thirty years web.
Anyway, it is true that this second volume has a value not as innovative as the first. The expectation that goes up at the reader while the characters are known, also, Lisbeth’s past with the discovery of his family origins, is one of the driving force of history. A novel where again the reporting of abuse of women’s action guide much of the characters, and a story based in a Nordic space concrete but features a lot of similarities in any western city today. This is the value of universality that has led to the expansion of interest. A search for the sources that the text on the picaresque, where Salander looking while fleeing what she calls “Everything Evil.” The origin of the problem is the lack of motivation for their actions. We are all inheritors of our past and, of course, the characters from Millennium prove it. A legacy left in our hands, the fruit of Stieg Larsson, a great journalist whose merit has been bringing literature to many readers that were not always close.