I’m attending a few events at the Cheltenham Literature Festival this year and “In Cold Blood: Scandi And Nordic Noir” was the first. The billed panel was Barry Forshaw, Quentin Bates and Søren Sveistrup but there was a last minute change of programme and Søren was replaced by Jakob Stougaard-Nielsen. Who knows how the discussions would have played out with a different panel but Jakob offered a very informed and engaging insight into Scandinavian crime fiction.
The discussion took the audience on a whirlwind journey charting the rise in popularity of scandi / nordic crime fiction, both in print and on television.
The general consensus was that the publication of Peter Høeg’s Miss Smilla’s Feeling for Snow which, although a mix of literary and crime fiction, set the stage for other translated fiction to reach a wider audience in the UK. For crime fiction the real breakthrough was the Millennium series from Stieg Larsson when it became easy to spot people reading The Girl With The Dragon Tattoo when out and about. These weren’t the first translated fiction books to be available but series like that by Per Wahlöö and Maj Sjöwall with the 10 novel sequence of Martin Beck / The Story of a Crime didn’t receive the same broad audience. Following the success of the Stieg Larsson series there has been the rise of the publishing ‘superstar’ in the success of Joe Nesbo and his books and subsequent films.
On the small screen the Wallander series led the way, especially when those averse to subtitles could watch the Brannagh version in English. The breakthrough for series broadcast in their original language but with subtitles was The Killing which opened up the opportunities for the success of series like The Bridge. As well as acceptance of the subtitles is also the audience exposure to series where the characters are taken on a longer journey than we might be used to.
There was much discussion about the content of the crime fiction – how the stories and themes can be used to demonstrate the mistreatment of women, the failures of the welfare state and how, in countries that faced occupation in the Second World War, incidents can often have their roots in behaviour or attitudes from that period.
It was an interesting and informative panel and we all stayed awake which was quite a feat considering how hot the room was! And the final consensus – that while there might have been a perceivable rise in the prevalence of ‘scandi noir’ it’s now an established part of the crime fiction landscape.
Barry Forshaw – reviews crime fiction for a number of national newspapers and is the author of a number of guides to crime fiction including Nordic Noir and Death in a Cold Climate: A Guide to Scandinavian Crime Fiction.
Quentin Bates – author of the Gunnhildur “Gunna” Gísladóttir series, set in Iceland and translator of Icelandic books into English including books by Ragnar Jonasson and Lilja Sigurdardottir. The lasted book in the series, Cold Breath, was published 11th October.
Jakob Stougaard-Nielsen – a Senior Lecturer in Scandinavian Literature in the School of European Languages, Culture and Society (SELCS) and acting Director of Comparative Literature at University College London and author of ‘Scandinavian Crime Fiction’ which is aimed at an audience with an interest in the rise of the this translated fiction.