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.

Hypothermia

Hypothermia, Arnaldur Indridason, Barcelona, La Magrana, 2009 (2001, Grafarþögn)
From a human rib for a girl’s mouth, the Icelandic author builds a story of mystery and great tension that keeps you from the beginning with great interest to develop it. Perhaps one of the best features of the story of Indridason is the parallel construction of side stories that match, like a puzzle careful at the end of the book. Is a temporary play in the present, with stories of the Inspector Erlendur Sveinsson and his drug addict daughter, Eva Lind, finding a human skeleton or the stormy relationship between the police Sigurdur Oli; well with the past, the mysterious appearance of women green.

Men who hate women

3.08.2009 (Renoir Floridablanca, Barcelona) Men who hate women (Man we Hatar kvinnor) (2009) by Niels Arden Oplev
It is always difficult to assess the adaptations of novels to film and, this time there is no reason for the exception. It is clear that the history of Stieg Larsson is designed to be a widespread and intense novel. The two and half hour-long film does not collect many of the subplots of the first part of Millennium, the pieces that make it a magnificent work. However, probably due to the authorship of the Swedish-Danish film, the viewer does not feel cheated, all I have read the novel. The changes maintain the vigor of the main story, as there is some loyalty in the construction of the characters, especially with the difficulty of giving life to the detective Lisbeth Salander, a role that Rapace Noomi addressed in several scenes as the Nils Bjurman violation guardian. In short, a proper film adaptation.

Men who hate women

Men who hate women, Stieg Larsson, Barcelona, Columna, 2008 (2005)
Faced with a best-seller like this, the first volume of the trilogy Millennium, an avid reader of curiosity plays to establish the reasons for its success:
1. The morbid attraction of the author’s sudden death before they see their work published.
2. The structure of black or detective novel: the addition of successive clues.
3. The adaptation of the genre to everyday life: the construction of rootless characters outside the more established conventions (Mikael Blomkvist, Lisbeth Salander).
4. The Nordic setting, ie the location of the story in a very suggestive landscape where nature leaves its mark. Similarly, the cultural context marked by Protestant Christianity.
5. The incorporation of historical elements of Nazism Swedish.
6. The use of new technologies as discursive tool and as an element of the story starring a hacker (with reference to possible Asperger syndrome, pp. 540).
7. The uninhibited approach to sexuality: lesbian, couples parallel, and so on.
8. Defending women: the value of novel genre is reporting on social inequality and violence against them.
The result is a book fresh, new, intense, where the cliches of criticism are, for once, but true. You cannot stop reading. It is clear that the following two parts will be difficult to live up to it. Larsson’s novel is the product of a drive by a passion, a release of feelings, experiences and sensations. A living book, peppy, which made me recognize that some best-sellers provide some element in the history of literature. With touches of humor and irony, as the citation of Blomkvist to Salander: “This is not a mystery. If Harriet Anita had died, years ago they would have found the body. It was logical that have helped Harriet to flee and hide. “(p. 536), which creates a constant play of chiaroscuro, that helps the reader further.
Include the construction of the character of alternative research and lucid, Lisbeth Salander, with female characters, Erika Berger, a fellow journalist and affective labor Blomkvist, which could be developed further. There are subplots undeveloped and left half, as the family of Salander (the mother’s death meant that the wound does not heal ever since they never get an answer to the question I always wanted to do, “p. . 538), or the case of rapist Nils Burjman guardian, which I assume will be resumed in the later volumes of Millennium.

Women of the fjords. Norwegian writer´s stories (2009)

Women of the fjords. Norwegian writer´s  stories, AD, Madrid, Nordic Books, 2009
An interesting anthology books of authors reading in line with the Swedish Frediksonn Marianne. Are about women who talk about people with problems of understanding, relationship with a world in which they are not understood, isolated, lonely, different. I have drawn especially two, the first and last. The young and most Trude Marstein Bjørg Vik. The first, a story in which a girl decides not to perform any sexual act with a girl he just met and invited him home. The second, a beautiful love story between an owner not materialized and the tenant of a room in his house.
Vik’s narrative as inserts include reported speech:
“The widow looked with apathetic cat face.
Really?
The chest was finally empty. Between the two took her out into the hallway.
[...]
Is that all?, Maggie.
You do what you like best?, Asked him in affectionate tone, a tone she had never heard before.  Why?
I’m happy, Tremmel said spontaneously. I want to make someone happy. What do you like?
Maggi looked surprised. ”
(p. 155)
Direct, without loss of time. As I was interested in doing in the silence of Mary and Sarah, a woman with no attributes. Includes dialogue, but with few introductory verbs. There is a third-person narrator, perfect. There italics denoting disingenuous, as with a chill in the treatment of the feelings of the characters.

A tone that attracts me to post my projects. Stories with a Nordic or Celtic flavor, so different Mediterranean authors.