Before I answer that, let me say that David Lagercrantz course know that we’re several hundred thousand who have our pictures of Mikael Blomkvist and Lisbeth Salander after read about them and watched them on film. We know how they think and how we think about them.
But Lagercrantz not seem to care. For the book’s big surprise is that he gives us new and softer images of Blomkvist & amp; Salander. The rock hard and icy Salander, who is most prevalent in the book, seems sometimes that … human. Blomkvist, who previously acted as if he always has the jacket on as he soon will accelerate further, now stay in step, unbuttoning the jacket, sits down and question the life he lives. Battle desire is gone. “Where did the dreams go?” It is emphasized so hard that when he ends up in a murder case, one is not even sure that he cares.
Faced with these wide-angle portrait that shows how narrow Salander & amp; Blomkvist had previously been heard Stieg Larsson clear their throats in the sky.
Mikael Blomkvist drawn into a story about the reclusive Professor Frans Balder, who is a leading researcher in artificial intelligence. Subject interests first is not the old Murveln, but when he realizes that a woman who applies to Lisbeth Salander profile has a finger in it, he becomes interested. The story grows to be about national and international monitoring, media crisis, industrial espionage …
Lagercrantz widens the scope by inserting a pair of newcomers – researchers, security officers – and they get exactly the space they need for them to appear.
A real find, however, the tender sections of Professor Balder – not because he effectively kicks off the story or because he has much to tell Mikael Blomkvist, but because he will have an eight year old son with autism, August. Professor Balder, who until now mostly been staring at the computer screen, decides to become a full-time dad. And yes, it becomes easy to enjoy when August’s special talent is used.
Just these sections shows clearly that Lagercrantz has a class of their language as Larsson Never was near. Larsson was able to create intrigue and there are many passages in his three books that really burned and was mighty exciting, but the choice of words and the depiction limped too. It was no wonder that it was rubbed in the language when the books were published in other countries.
David Lagercrantz we get remarkably often layer upon layer, and when we look through them, yes, believe us see through them, awaits new that looks to have been there with a very light hand. All this scratch our concerns, not least because you realize how hard it is to be persecuted by his own life.
Lagercrantz becoming more dutiful when it apply the book’s basic connotation around social issues: artificial intelligence, surveillance and media crisis. He praises the end of the book Blomkvist’s ability to point out the human drama more than the technicalities, but himself he settles for doing homework and spread the words which when he flat portrays how a newspaper guru wants to change Blomkvist’s investigative newspaper Millennium.
All this swinging and pitching means that I do not know what I think even when I read half the book.
And I think that it is too David Lagercrantz basically do not like Stieg Larsson, even if he convinces himself that he does. This is obviously not about Lagercrantz is to mimic – there is only one original – but the big political scene Larsson twisted around until we all felt vulnerable, including in the home usually quiet hemmavrå becomes in Lagercrantz not as intrusive or claustrophobic. It is as if he would most want to dismantle Larsson building without having the tools to do so.
So, “That which does not kill us,” a good book? It’s a shaky story that is too keen to capture future issues. But the tålmodige rewarded because Lagercrantz gets really good towards the end when his feel for the waves come into their own. Here are the seamless transitions between Judas kisses and the complete trust. It smells, it feels the ground you stand on is firm and storytelling seek its goal
The descriptions of what those involved say less important, what they do mean everything more.
“That which does not kill us,” Anyway, that’s a test of strength and it is easy to think of Lagercrantz and his book against when I was backing band and once again read in Stieg Larsson’s “Girl Who Played with Fire, “part two in the series. It says: “I have a condition for selling the story to Millennium. The book should be published. I want it to come as a bombshell.”
Now I wonder: When will the sequel? And who writes it?