#lagercrantz

[random-brushstrokes]

Ava de Lagercrantz (Swedish, 1862-1938) - Portrait of a Woman

[cloudgirlsinfo]

AGNES LAGERCRANTZ

[lskarsgard]

Bränn alla mina brev 💌 ❤️‍🔥

📸 I have taken these low quality pictures on my iPad screen 🥲 because the streaming service does not allow me to take screenshots. If it is possible, I would be happy to receive tips on how to solve it.

[kinhagamer]

[Livros] Séries que indico: 6 melhores policial/suspense/mistério/thriller que já li

Somos leitores apaixonados e nem sempre encontramos pessoas que compartilhem nossa paixão, então deixo aqui 6 séries de suspense/mistério/thriller/policial que já li há anos, mas que nunca esqueci. Pode compartilhar as suas também!:) Série Millennium (Stieg Larsson/David Lagercrantz/Karin Smirnoff)Lisbeth Salander forever Começamos Millenium como uma trilogia de tirar o fôlego e que depois da…

[lizardgimpking]

Book Review: The Girl in the Spider’s Web (David Lagercrantz)

It’s probably a little awkward to step into the writing boots of a series who’s initial trilogy was mostly released posthumously. Stieg Larsson made an iconic and very successful series of books, with iconic characters, and although he seemingly always intended to write more, it does still feel weird to see such a detailed saga being continued by someone who’s basically making it up by himself. Still, it’s not the first time a franchise has been carried on without the author who created it, and it won’t be the last time either.

Regardless, I must admit I was pretty skeptical on the idea, and only ended up reading this fourth installment in the ‘Millennium’ series because I got it in a charity shop. It doesn’t help that, in a lot of ways the original trilogy had already felt played out by the time I reached the end of the gigantically sized book 3. It’s pretty universally agreed upon that the first book is by far the best/most interesting, but the two follow-ups remain pretty gripping, and Lisbeth Salander is a very fun character to spend time with. There’s just a lot of...weird twists and character connections that feel a little silly, and Larsson had a penchant for obsessive detailing, which can be both good and bad.

This fourth book then, is actually pretty well written, certainly in keeping with the style of the originals. It certainly doesn’t streamline anything like you might expect, particularly if, like me, you watched the stylish but shallow (And very loose) recent movie adaptation beforehand. It feels like a natural continuation of the writing style of the first trilogy, which is impressive work given the original author is sadly no longer with us.

The story itself is a mixture of decently gripping and slightly underwhelming. There’s another familial connection twist, which feels a bit contrived, although the book does a decent job of explaining the reasoning. There’s a lot of themes and sub-plots around the core story, but what felt a bit disappointing was that pretty much none of them come to a particularly satisfying conclusion by the final page. The main ‘goodie vs baddie’ thing at play ultimately doesn’t play at all in this one, which is a shame...presumably it continues in the later two books, but I was hoping for a more self-contained reading experience. All that said, the general read is still quite absorbing, and I enjoyed it despite the flaws. Lisbeth remains a great character, and she gets a bit more time in the spotlight than in the last book, including some fun (But sparse) action moments.

This was better than I expected. It feels pretty faithful to the writing style/construction of the previous novels, and certainly builds on the foundations those very gradually set up, rather than charting its own course. All that said, some pacing changes would’ve been welcome, I feel. And the way the main conflicts of the story ultimately fizzle out, no doubt to be continued in later installments, means this ends on a pretty underwhelming note. But...I’m certainly more inclined to keep reading the new novels, now. They’re clearly in safe hands, if not maybe a little too safe. Makes the movie version seem slightly worse by comparison though. A fun watch, but ...damn...it’s barely an adaptation at all.

Leave it or Read it: Read It.

Reading Next (Aliens vs Predator: Ultimate Prey)

[adaptations-polls]

Which version of this do you prefer?

[skeppsbrott]

In the book Dolda Gudar, which is altogether an excellent read about the translated and untranslated literature in Swedish cultural history, Nils Håkansson at one point describes contemporary criticism of translated drama and poetry in 17th c Sweden. A critic argues that the Swedish language is far too poor to portray the romance of foreign literature without making a mockery of it. Håkanssons response to this is essentially that it may very well have been true at the time, because the form and subject and expression was still rare in native Swedish literature, meaning that those translations were essential in bringing that nuance to the language. A good effort of translation (and translating from a range of sources) is in this argument essential in broadening the capacities of language.

the thing you need to realize about localization is that japanese and english are such vastly different languages that a straight translation is always going to be worse than the original script. nuance is going to be lost and, if you give a shit about your job, you should fill the gaps left with equivalent nuance in english. take ff6, my personal favorite localization of all time: in the original japanese cefca was memorable primarily for his manic, childish speaking style - but since english speaking styles arent nearly as expressive, woolsey adapted that by making the localized english kefka much more prone to making outright jokes. cefca/kefka is beloved in both regions as a result - hell, hes even more popular here

[joebloggshere]

The Girl In The Eagle’s Talons by Karin Smirnoff

So this is book 7 of the Millennium series featuring Lisbeth Salander, originated brilliantly by Stieg Larsson.

I found this one, good in parts but… So I read the first three original books by Larsson and loved them so when they continued the series with writer David Lagercrantz I bought a copy straight away, and again loved it, (can’t find my review on here which is weird but…). —- ——- According to Wikipedia, Lagercrantz continued “…the Millennium series with Larsson's characters. The Girl in the Spider's Web was published in 2015, followed by The Girl Who Takes an Eye for an Eye in 2017, and The Girl Who Lived Twice in 2019... …In November 2021, publishing house Polaris acquired the rights to the series from Larsson's estate and announced a new trilogy of books written by Swedish author Karin Smirnoff. The Girl in the Eagle's Talons…”.

Reading that I realise I didn’t read books 5 and 6 but when NetGalley/Quercus offered me this one, by Karin Smirnoff, I jumped at it. (Maybe if I have time I will go back and read what would be books 5 and 6 of the series and add a post-script here if I do.)

I don’t know if it’s Lagercrantz being better with Larsson’s voice than Smirnoff or whether the series has run its path, but I didn’t love love it. The first half grabbed me and intrigued me but then… I don’t know, too many coincidences? too much internal dialogue from different characters?

A review that captures some of how I feel is on GoodReads at https://www.goodreads.com/review/show/5734107570 (we disagree in parts).

Although this might appear a negative review, it isn’t. I want to read more Lisbeth Salander books and if this one wasn’t any good, it wouldn’t have left me with that feeling. So ignore my queries and go and get yourself a Lisbeth Salander and Mikael Blomkvist fix!

Recommended.

Courtesy of NetGalley and Quercus Books.

[bookcoversonly]

Title: Dark Music | Author: David Lagercrantz | Publisher: Knopf (2022)

[aktieportfoljen]

Stängning på dagshögsta med Lagercrantz och Storytel i topp

Efter 84 mil landvägen och några sjömil har jag nu kommit hem till Stockholm från Berlin, Jag är lite mör efter körningen, men när jag tittade på hur Stockholmsbörsen och laguppställningen stängt piggnade jag till, +1,20%. Bästa uppgången sedan den 26 september. Dagens ledartröja gick till teknikhandelsbolaget Lagercrantz (+5,49%) som efter rapporten fått höjd riktkurs från Danske Bank och…

[rocrown]

One reason the books in the Millennium series following the original trilogy don’t work for me is because I don’t feel like David Lagercrantz hates misogynists and fascists enough.

He very well may really hate them but it doesn’t come through in his writing the way it did with Larsson.

Stieg Larsson’s loathing was so explicit and so immense that I knew more than anything he really really despised misogynists and fascists. And the sequels lack that. They get bogged down in techno thriller and lame Marvel references and making Lisbeth a more palatable heroine, which misses the point for me.

Lisbeth is rage manifest: against a misogynistic and fascist society, its systems and institutions. She does the work she wants. She follows a rigid moral code of her own. She dresses how she wants. Goes where she wants. Associates with who she wants. Fucks who she wants. And if people don’t like that she dresses like a goth, hangs out with communists, is bisexual, is an abrasive unfriendly unsmiling woman, and punishes those who deserve it, well that’s too bad. She is rebellion against misogynistic conventions and expectations. She exists despite the fascists in her own government. And she hates them all. She is a storm Larsson set loose on his fictional but very real enemies. She is the embodiment of his hatred, made manifest to destroy and seek retribution in fiction in ways women like her rarely get to in real life.

I don’t get that from the other books. They’re too interested in the cyber aspects and too plot focused. They’re conventional thrillers and that’s where they fail. I didn’t want a conventional thriller with the characters from the Millennium trilogy because they lacks the soul. The beating heart of Millennium. It’s about justice—a righteous and furious justice, a kind of wish fulfilment in which women best their abusers and defy misogyny, and our heroes defeat fascists within their neoliberal governments.

Lagercrantz likely did what was asked of him. He wrote a thriller continuing the stories of these characters. You can’t fault him for that especially with the rising popularity of the series. He met the brief. It’s broader and the rougher edges filed off. In that way they were successful. But in doing so they lacked the character and tone of the originals. You could hear Larsson screaming Fuck You to misogynists and fascists on every page, just as abrasive and blunt as Lisbeth. That’s missing. And it’s a shame.

[cloudgirlsinfo]

AGNES LAGERCRANTZ

[holespoles]

"The Long, Long Journey" by Ilon Wikland (illustrations) and Rose Lagercrantz (text)

[pierwszy-akapit]

"Latem w dzielnicy pojawił się nowy żebrak. Nikt nie wiedział, jak się nazywa, zresztą nikogo to nie obchodziło, chociaż młoda para, która mijała go co rano, nazywała go szalonym karłem, co przynajmniej w połowie było niesłuszne. Bo w sensie medycznym nie był karłem. Miał sto pięćdziesiąt cztery centymetry wzrostu i był proporcjonalnej budowy. Natomiast rzeczywiście był chory psychicznie i czasem zrywał się, by łapać kogoś, a potem mówił coś bez związku." – David Lagercrantz "Ta, która musi umrzeć"

[julyposts]

La saga Millennium es una serie de novelas criminales suecas creada por Stieg Larsson y escritas las tres primeras obras por él mismo y las siguientes por David Lagercrantz, que ha conseguido un éxito de ventas a nivel internacional.

[debussyandbooks]

15 Ramadān 1445 \\ 25 march 2024

🔎 B O O K R E V I E W I S H 🔎

i finished reading another book at my library, my very first detective story??? obscuritas by david lagercrantz, which my colleague recommended to me (and i became intrigued by because i was told the protagonist had bipolar disorder).

detective stories are not my thing. and david lagercrantz cannot write a young female protagonist very well. nor criminal ghetto characters very well. and i cringe at some "misinformation" or lack of nuance about Islam in this book. but i suppose it might still be worth a 5/10 for entertainment?