Sol och skugga Book Ò¶ Dogsalonbristol


Doc Sol och skugga

Sol och skugga Book Ò ¶ Dogsalonbristol í [Read] ➪ Sol och skugga ➲ Åke Edwardson – Dogsalonbristol.co.uk From the three time winner of the Swedish Crime Writers' AwardA couple are found murdered in their flat in Gothenburg their bodies symbolically arranged in a mysterious and grotesue fashion As Winter FFrom the three time winner of the Swedish Crime Writers' AwardA couple are found murdered in their flat in Gothenburg their bo Sun and Shadow the first Detective Erik Winter novel by Swedish writer Ake Edwardson to be translated into English 1999 is a dark psychological mystery that chronicles two grotesue double murders and the exhausting investigation that follows The plot is complex and it delivers the build up to a fine suspenseful endingEdwardson’s style is literary The writing is strong especially the descriptive language and the dialogue After Detective Winter visits his father who has just had a heart attack and with whom Winter has had a strained relationship he tells his lover Angela about it “What was it like seeing him again” “As if we’d been chatting only last week” “Sure” “Depends what you mean We spoke about safe subjects” “Everything takes time He has to get better first” “Hmm” “Are you tired” “Not so tired that I can’t indulge in a glass of duty free whiskey What about you”These spare conversations circling around a subject like a dance are common Dialogue effectively carries the narrativeThe novel avoids extensive descriptive passages that tend to slow the narrative movement Yet often the descriptive language is strong Here is an example of a strong and spare description “It was night in the apartment no lights burning any A standard lamp had been on all day but the bulb had gone As dawn broke autumn sidled in through the venetian blinds and a roller blind in the bedroom let in patches of light”I would uibble with a couple of things pet peeves of mine in Edwardson’s style I should add here that it’s entirely possible that the first of these problems results from translation and may not exist in the original First the poor overused verb “to be” gets worked to within an inch of its life in the novel’s prose both as the main verb in a sentence and as the helping verb used with a main verb in the “–ing” progressive form I’ll italicize examples in the following short paragraph to demonstrate “Winter was walking along the Ricardo Soriano It was evening again He went into the cerveceria Monte Carlo and ordered a glass of draft beer at the bar The place was full of men watching a football match on a large screen Real Madrid versus Valladolid He drank his beer and felt comfortable among all the shouting There were no women inside the bar They were sitting at tables on the pavement outside waiting for the match to end and the evening to begin”Five “to be” verbs in a short paragraph The problem All these “to be” verbs kill the immediacy of reader experience of what happens Compare the following possibilities “Winter walked along “ or “The bar overflowed with men watching ” or “All the women sat at tables on the pavement outside ” Revising “to be” verbs into action verbs is a staple of good writingMy second uibble Edwardson tends to filter sense experience instead of giving it to the reader directly Here’s what I mean Detective Winter goes into a bar and the narrator tells us “Winter could hear people speaking Norwegian Swedish and German” The readers should experience the bar not have Winter experience it for them It would be easy to revise this passage to say “People at the tables around him spoke Norwegian Swedish and German” That way the reader experiences the polyglot with Winter instead of being told that Winter experienced it This kind of filtering is too common in the novelOkay with all that said this book was a good read I recommend it especially for fans of Scandinavian crime fiction It’s a strong example of the genre The complex plot builds slowly and in the end delivers a powerful driving finish

Sol och skuggaFrom the three time winner of the Swedish Crime Writers' AwardA couple are found murdered in their flat in Gothenburg their bo Sun and Shadow the first Detective Erik Winter novel by Swedish writer Ake Edwardson to be translated into English 1999 is a dark psychological mystery that chronicles two grotesue double murders and the exhausting investigation that follows The plot is complex and it delivers the build up to a fine suspenseful endingEdwardson’s style is literary The writing is strong especially the descriptive language and the dialogue After Detective Winter visits his father who has just had a heart attack and with whom Winter has had a strained relationship he tells his lover Angela about it “What was it like seeing him again” “As if we’d been chatting only last week” “Sure” “Depends what you mean We spoke about safe subjects” “Everything takes time He has to get better first” “Hmm” “Are you tired” “Not so tired that I can’t indulge in a glass of duty free whiskey What about you”These spare conversations circling around a subject like a dance are common Dialogue effectively carries the narrativeThe novel avoids extensive descriptive passages that tend to slow the narrative movement Yet often the descriptive language is strong Here is an example of a strong and spare description “It was night in the apartment no lights burning any A standard lamp had been on all day but the bulb had gone As dawn broke autumn sidled in through the venetian blinds and a roller blind in the bedroom let in patches of light”I would uibble with a couple of things pet peeves of mine in Edwardson’s style I should add here that it’s entirely possible that the first of these problems results from translation and may not exist in the original First the poor overused verb “to be” gets worked to within an inch of its life in the novel’s prose both as the main verb in a sentence and as the helping verb used with a main verb in the “–ing” progressive form I’ll italicize examples in the following short paragraph to demonstrate “Winter was walking along the Ricardo Soriano It was evening again He went into the cerveceria Monte Carlo and ordered a glass of draft beer at the bar The place was full of men watching a football match on a large screen Real Madrid versus Valladolid He drank his beer and felt comfortable among all the shouting There were no women inside the bar They were sitting at tables on the pavement outside waiting for the match to end and the evening to begin”Five “to be” verbs in a short paragraph The problem All these “to be” verbs kill the immediacy of reader experience of what happens Compare the following possibilities “Winter walked along “ or “The bar overflowed with men watching ” or “All the women sat at tables on the pavement outside ” Revising “to be” verbs into action verbs is a staple of good writingMy second uibble Edwardson tends to filter sense experience instead of giving it to the reader directly Here’s what I mean Detective Winter goes into a bar and the narrator tells us “Winter could hear people speaking Norwegian Swedish and German” The readers should experience the bar not have Winter experience it for them It would be easy to revise this passage to say “People at the tables around him spoke Norwegian Swedish and German” That way the reader experiences the polyglot with Winter instead of being told that Winter experienced it This kind of filtering is too common in the novelOkay with all that said this book was a good read I recommend it especially for fans of Scandinavian crime fiction It’s a strong example of the genre The complex plot builds slowly and in the end delivers a powerful driving finish

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Reader ´ Sol och skugga ´ Åke Edwardson

Sol och skugga ì Cult world of the gothic he becomes enmeshed in a riddle of nightmares where he must untangle good from evil and sun from shado After too many mediocre Scandinavian crime stories this was just what I needed A proper noir Classic in the Sjöwall Wahlöö elements and atmosphere yet much modern Meet Erik Winter 39 in a crisis because of his life changing his girlfriend just moved in and he'll soon be a dad While he and his fiancee should be spending their time getting ready for Winter Jr's arrival Winter gets involved in the investigation of a brutal murder of a couple a few steps from his home The beginning before the investigations take off seems to take a bit longer but it all binds in beautifully It's a beautiful lost very noir atmosphere first where Winter's parents live in Spain and then back to Gothenburg It's something of the same cold Sjöwall Wahlöö Sweden and even in winter but it doesn't seem so out of date Unlike in the old noir you get to know the people much intimately Yet the same claustrophobic noir atmosphere is still there Sweden's second largest city yet it feels like a small village where everyone knows who you are and where you live At least the bad guys do Great atmosphere and characters I'll definitely need to try another Edwardson soonThe claustrophobic atmosphere and some of the characters are what raised this to 4 stars The crime and its motivations were not the main virtues they seem to follow the Sjöwall Wahlöö line too well There were also a few oddities in the translation by Laurie Thompson it seems some of the other books of the series are translated by others; eg like greased lightning which I had always taken as a Finnish expression but which apparently was here simply translated from Swedish Reader ´ Sol och skugga ´ Åke Edwardson

Åke Edwardson ´ Sol och skugga Book

Åke Edwardson ´ Sol och skugga Book Dies symbolically arranged in a mysterious and grotesue fashion As Winter follows the trail of clues Sol och Kindle into the Although Edwardson has been on my list of Scandinavian crime authors to read for some time I had previously put off reading any of his novels because they had been described as rather stringent procedurals and as a rule I am not a huge fan of this genre I understand that meticulous investigations with their red herrings and dead end leads and countless interviews with doddering old women who may have seen something relevant to a crime but really just want to serve the dashing inspector biscuits and coffee and have some company for a short time are some readers’ cups of tea For myself however I’m not really invested in the process so much I generally like the varied dynamics of a police force that you get in a procedural but that enjoyment doesn’t really outweigh the sense of stagnation that sometimes comes over me in the midst of one of these novelsI’ll admit I like plot And while this is a literary element that may be somewhat out of vogue in contemporary ‘literary’ fiction it is generally still highly valued in crime novels So while I appreciate the pleasure that one might take out of reading the intricate but often dull or frustrating uotidian burdens of a police investigation I usually prefer that the crime novels I ready eschew that sort of realism in favor of some broader character development back story andor steadily escalating tensionAll this preamble is to say that I have just finished and very much enjoyed Sun and Shadow the first of Edwardson’s Erik Winter novels to be translated into English although it wasn’t the first in the series What is somewhat perplexing to me and apologies because this probably won’t end up being the best of sells for this book is that Edwardson utilizes a number of tricks which I would normally really dislike in a novel But somehow even when all of these strategies and dare I say cheats are combined and I’ll get to this momentarily the end product is still a really enjoyable well paced strongly characterized novel which I pretty much gobbled up in a few short daysTo start with the goodWinter is a great character He’s reasonably uirky loves jazz and gourmet cooking there’s several whole pages where he describes in recipe level detail the meal he makes on New Year’s and we’re told early on that he’s Sweden’s youngest chief detective inspector As the book opens days before the new millennium however he is about to turn 40 and is starting to feel a bit introspective about his life This is emphasized by the ample family subplot that Edwardson builds around Winter when the book opens his father is dying and his longtime girlfriend who is six months pregnant with his first child is moving in with himEdwardson really takes his time with this domestic development In fact although the reader knows right from the start of the book that there has been a double murder the police don’t discover it until just over 100 pages into the book The fact that such an elongated reveal works in a crime novel really speaks to how engaging Winter and the other detectives and characters are You want to spend time with them and become immersed in their lives rather than just jumping into the investigationAnther especially good element is the pacing I’ve rarely gotten to the very end of a procedural and actually felt a great deal of anticipation to see the case resolved That feeling that the police are so close to cracking the case doesn’t usually catch with me But here Edwardson manages to develop suspense and build tension because the reader has spent 200 pages or so suspecting that they know who the murderer is I didn’t guess the right person but I was pretty close So while the police investigation continues to narrow its suspects and get closer and closer to determining who the killer is their tangential investigations and incorrect suppositions are all the nail biting for the reader Now for the elements that shouldn’t have worked but somehow really did1 Edwardson has a tendency to avoid grimdisturbingor otherwise particularly visual detail In some cases this is almost Hitchcockian we’re chilled by what we can’t see what we don’t really know In others it’s a little disorienting and maybe suggests a tad bit of sueamishnessavoidance on Edwardson’s part I don’t want to give too much away but let me say this the police discover the first murders around page 100 We know something terrible happened to the victims and they the corpses are described a little But Edwardson holds the real punch the actual ‘what’ of the murders for about 60 pages And when you find out what was done it is an unexpected jolt But given the circumstances I was glad to not have had the scene f the crime described in all of its sordid detail that would have been a little muchThis withholding of details and descriptions happens in a few other notable instances some to lesser effect The least successful example happens at the end of the book A major character is kidnapped for days The whole time chronology suddenly compresses Winter figures out where she is and the whole book is wrapped up neat ‘n tidy within about five pages We’re told that the woman “wasn’t hurt physically” which great but because the book ends so uickly Edwardson also dodges the difficulty of writing the psychological fall out that the kidnapping victim would most definitely have after such an abduction We’re simply told that “one of these days it would all come back to her but not nowPerhaps never” Which just seems way too easy It’s possible given that the Winter series seems to carry over plot lines and character history from book to book that this character’s recovery will be dealt with in a later novel But that doesn’t mean that you can just nip the entire experience in this installment2 The novel really depends on a bit of a red herring bait and switch About a uarter of the way into the book I had made a guess of who the murderer was About half way through the book Edwardson begins really telegraphing this character as the killer A few other characters also seem like they might have some potential as the killer but there’s really one who Edwardson focuses on And while this may seem too obvious it also plays into the general sense of tension You start to think that you’re supposed to have guessed who the killer is and stop minding that it seems obviousThe problem is that when the character you suspect turns out to be innocent there’s not a whole lot done to explain the actual killer’s motivations or background or particular psychosis There’s a lot of groundwork done early on to explain the killer’s possible frame of mind and why he might choose to commit the murders in the way that he does This makes sense when you think it’s character A who is the killer but when character B is revealed it really doesn’t Neither does the manner in which he selected his victims or the messages that he left the cops at the crime scene or the supposed clues that were to be found in the music that was playing at the scene of the first crime3 All too convenient endangerment of major character and collision of plot and subplot The character who is the almost last victim is far too obvious far too relevant to Winter’s life It’s too convenient really However Edwardson even makes this work He develops the character as a possible person of interest to the murderer and does offer something of an explanation of why she was targeted Now she has nothing in common with the other victims and her kidnapping really just serves to ramp the novel’s climax up to a dramatic level but I pretty much bought into it at the end Because again I was really invested in seeing this case resolvedIn closing I suppose I would say that Edwardson’s ample gifts of characterization steady pacing and satisfyingly determined plot are what make Sun and Shadow a satisfying read I suppose it’s something like reading an Agatha Christie novel You know that she’s not playing by the ‘rules’ you know you don’t have all the clues that the detective does and you know that things are going to resolve themselves rather easily and you know that all of the clues and plot points might not add up But the execution no pun intended is so fluid and meticulous that you don’t really mind so much in the end