Showing posts with label Translation. Show all posts
Showing posts with label Translation. Show all posts

Sunday, 5 January 2025

Forthcoming Books from Pushkin Press

January 2025

A Japanese mystery horror bestseller, revolving around a series of creepy drawings, in which the reader is the detective - from the Youtube sensation Uketsu. A series of drawings by a pregnant woman conceal a chilling warning. A child's picture of his home contains within it a dark secret message. A sketch made by a murder victim in his final moments leads an amateur sleuth into a terrifying investigation. Can you find the hidden clues in these strange pictures and discover what connects them all? When you do, a sinister truth will be revealed.

February 2025

One True Word is by Snæbjörn Arngrímsson. Why did she do it? After a day of simmering tension on a trip to an uninhabited island, Júlia snaps and leaves her husband Gíó marooned in the middle of a freezing fjord in the depths of the Icelandic winter, with night drawing in. When she regrets her decision and returns, he is nowhere to be found. The police launch a manhunt, but soon their suspicion falls on his wife. She spins them a story to hide her involvement, but she can feel the net closing in. Is Gíó alive or dead? In hiding or hunting her down? And can Júlia get to the truth before it destroys her?

Everyone is talking about it: a serial killer is on the loose. Women are being slain across the countryside surrounding the isolated Warren mansion where Helen has taken up a domestic position. And each murder is closer to the house than the last... When the body of a local girl is discovered in the nearby village, Professor Warren orders the mansion be locked up overnight for the residents' safety. But as a storm rages outside and tensions mount within the home. Helen begins to wonder whether the murderer isn't already inside, stalking his next victim... The Spiral Staircase is by Ethel Lina White.

March 2025

DCI Alison McCoist is back: newly promoted and even less popular. Chuck Gardner is the proud owner of both a confidential paper-shredding business and a serious betting habit. When Chuck finds some scandalous paperwork and McCoist investigates a rat-nibbled corpse under a flyover, they are both sucked into a deadly stramash of gangland wars and police corruption. Can Chuck solve his gambling and gangster problems before some heed-banger feeds him into his own shredder? And can McCoist claw herself out of this latest shitemire without her own shady dealings coming to light? It might depend on how far she's prepared to go.. Paperboy is by Calum McSorley

May 2025

Murder in the House of Omari is by Taku Ashibe. Osaka, 1943: as the Second World War rages and American bombers rain death down upon the city, the once prosperous Omari family is already in decline, financially ruined by the terrible conflict. Then the household is struck by a series of gruesome murders. Can anyone solve the mystery of these baffling slayings before the Omari line is extinguished entirely? To do so, and unravel the killer's fiendish plot, they will have to delve into the family's past, where a dark and deadly secret has been festering for decades.








Friday, 13 December 2024

Forthcoming books From Bitter Lemon Press

January 2025 

Runaway Horses is by Carlo Fruttero and Franco Lucentini. Siena, one of Italy's most beautiful cities, visited by all discerning travellers to Tuscany, is feverishly preparing for the Palio, a horse race dating back to the Middle Ages held every summer in the centre of the town. Milanese lawyer Enzo Maggione and his wife Valeria are unwittingly caught up in the maelstrom of plots, counterplots and bribes surrounding the race. They are even witnesses to the violent death of Puddu, the Palio's most celebrated jockey, found dead the day before the race. A murder mystery, a hilarious portrait of a fading marriage and a decadent society, and a history of the Palio all rolled up into one brilliant novel. What begins as a listless excursion to a medieval equestrian competition turns into a hallucinatory nightmare for Maggione and his wife, awakening their dormant libido for each other but, more dangerously, for others in their entourage. The death of the jockey is only one of the mysterious goings-on to be solved. It soon becomes clear that there are no bystanders in the Palio.

February 2025

The Best Enemy is by Sergio Olguin. A new investigation by Verónica Rosenthal, the audacious Buenos Aires journalist. Andrés Goicochea, a former director of the magazine where she works, and his ex-partner have been executed in cold blood. Her boss, Patricia, is in the hospital with a bullet in her lung. The authorities are trying to pass the murders off as a burglary gone wrong. Veronica has her doubts. The magazine’s investigation of a high-level corruption scandal seems more likely to have triggered the violence. A scandal perhaps influential Argentine businessmen perhaps involved with an Israeli linked to atrocities committed in Gaza years ago.

March 2025

Hunkeler, now a retired inspector of the Basel police force, is hospitalized and sharing a room with Stephan Fankhauser, an old acquaintance terminally ill with cancer. One night, a groggy Hunkeler wakes up to see a young nurse administering an injection to his friend. The following day Fankhauser is found dead. There was no autopsy, and Fankhauser was quickly cremated. Hunkeler resolves to get to the bottom of the matter. His maverick investigation will threaten Switzerland's carefully honed reputation of neutrality during WWII. Hunkeler's Secret is by Hansjorg Schneider.

May 2025

The story begins in 1989 on the Dalmatian Coast of Croatia. The investigation into a young woman’s disappearance falters as Yugoslavia plunges into a fratricidal war. Another three decades will pass before the truth is revealed. Inspector Gorki Šain, haunted by his failure to unravel the case the first time, returns to solve the crime in 2017. We are barely two months before the fall of the Berlin Wall, only “an instant” before the shift from one world to another, the shift toward tragedy for a country ultimately forged by war. Red Water is by Jurica Pavičić.


Tuesday, 3 December 2024

The Island of Lies an apology

 

I have to make an apology.

It was only meant to be a small, private joke – a bit of fun – because there's precious little of that in most crime fiction pages.

I'd just spent four years on the Faroes trilogy, writing a story which didn't shy away from the bleaker side of multiple murders. So, having brought The Fire Pit to a rather graphic and dark conclusion, I was ready for a change of mood. 

The trouble is, I've always been rather pedantic about accuracy in police procedure. My personal (and slightly neurotic) worry is that someone will read one of my books and then point out that I've made a basic technical mistake. As a result, I tend to be rather obsessive about research and getting things right. If a plot calls for someone to discover a corpse, then – for reality's sake – I usually feel obliged not to shy away from the unavoidable consequences of that situation, whether I like it or not.

But after the Faroes books I was disinclined to leap straight back into writing more grim reality, so I started to wonder whether I could dispense with that for a while. In fact, what if there was a way to write a crime novel where I didn't feel constrained by accurate procedure and realism? What if, instead, I made the rules and perhaps set the story in a fictional time and location, so no one could tell me I'd got it wrong? 

I may have had a touch of cabin-fever at the time, I suppose, but it seemed like the perfect solution to lighten the mood. 

I'd like to say "and so, before long, Citizen Detective was born", but that wouldn't be true.

I could have guessed that creating an entire society from scratch – as well as the plot of a decent murder mystery – can't be done quickly. However, I also discovered that it's really quite liberating to dispense with gritty realism and simply let your imagination off the lead for a run.

So, the world I eventually came up with was that of Citizen Detective (Grade III) Arne Blöm. He is a very small cog in the machinery which regulates an oppressive authoritarian society, perhaps not dissimilar to East Germany in the fifties or Sweden under the Communists.

Most of Blöm's working day consists of filling out forms (some realism there), padding his timesheet, and trying to avoid saying anything contentious or unpatriotic which might be overheard by the State bugs in the light fitting. But then, of course, there are deaths, which seem unrelated until Blöm is summoned to the sinister Ministry of Governance and Homeland and discovers that things are not as they seem with the State apparatus.

Generally speaking, I was quietly pleased with the book and the small alternative world I'd created. It had been fun to write, which was all I intended, but when I showed it to "a friend in the industry" they were a little sceptical.

Yes, they agreed, it was a sort of crime novel, but was it hard-boiled or comfy crime; a mystery, a police procedural and/or Scandi-noir? How would I categorise it?

Well, I supposed it was a bit of all those, I said, but that didn't help. It turns out publishers don't have a category for something which is a "bit of all of those" (with a little sardonic humour thrown in), and if it can't be categorised it's a no-go. Apparently the marketing algorithms would have a melt-down.

So.

If you're a professional writer you have to accept that the requirements of publishers and TV companies are usually pretty inflexible. If they expected you to produce a gritty noir thriller and you give them something set in a country which doesn't exist and featuring a middle-aged detective who spends much of his time worrying about the repair of his brogues, well, they're not going to be terribly enthusiastic. 

All of which I knew, so I wasn't particularly surprised or disappointed. Citizen Detective was never supposed to be more than a break from realism for my own entertainment and it had served that purpose. 

Of course, being a writer it's always nice to be read, so I told my "friend in the industry" that I'd simply set the book free on Kindle. In these wonderful egalitarian times of independent publishing that's not hard to do, so why not?

"Bad idea," says my friend. "People will think it's one of your proper crime novels and then find out it isn't. They won't be happy."

Because my friend is a wise and serious person I thought about this. But I liked Blöm; I liked the story, even if it wasn't a "proper crime novel", and it seemed a shame just to put it away in a drawer. But then it occurred to me that this might actually be an opportunity to add another layer of intrigue and misdirection to the whole world of Blöm. 

What if I never claimed to have actually written the book? Then no one would expect my usual, realistic style. Instead I could say I'd simply "translated" it from a work by a dissident, underground author named O. Huldumann, writing at the time of the events he describes. I could even add a short afterword, describing how I first "discovered" a copy of the original book (a cult classic, of course) and how little is known about who Huldumann was. 

And so that's what I did. I thought it was fun to pile construct on construct, and so did some other people who not only figured out what had gone on, but actively joined in with the Great Huldumann Mystery. They know who they are. 

Trouble is, I might have been a little more convincing than I really intended to be, because I now discover there are some people who don't realise it was all make-believe. 

So, I'm coming clean here. I'd like to apologise if anyone misunderstood, and I now wish to categorically state that Citizen Detective and The Island Of Lies are not proper crime novels (even if there's a detective and multiple deaths to be solved). And, yes, O. Huldumann is as fictional as Arne Blöm and the world he inhabits. 

Sorry.

But I still had fun and I'm not sorry for that.



The Islands of Lies by O Huldumann (Translated by Chris Ould) Corylus Books

In the midst of Capital City's November crime wave Citizen Detective (Grade III) Arne Blöm finds himself appointed as a Konstable of the State Court and tasked with the arrest and detention of a man he's pretty sure is actually dead. However, being the Detective he is, Blöm quickly discovers that his assignment to the island of Huish has more sinister undertones. Faced with a series of strange and similar deaths, Blöm dispenses with traditional methods for solving the crimes and begins to suspect that certain sections of the island's population are not what they seem, nor as harmless as they might appear…


Thursday, 14 November 2024

Winner of 2024 Petrona Award announced

 

The winner of the 2024 Petrona Award for the Best Scandinavian Crime Novel of the Year is: 

DEAD MEN DANCING by Jógvan Isaksen translated from the Faroese by Marita Thomsen and published by Norvik Press. 

Jógvan Isaksen will receive a trophy, and both the author and translator will receive a cash prize. 

The judges’ statement on DEAD MEN DANCING: 

Similar to the story of the ancient god Prometheus, a man has been shackled to rocks on the Faroe Islands, and left to drown on the beach. The discovery of his body throws the local community into an unsettling chaos, and as the journalist Hannis Martinsson investigates, he comes across evidence of similar deaths. He realises they are linked to the events in Klaksvík in the 1950s, and a local revolt which tore the community apart. As Martinsson digs into the troubled past, he learns about his country’s history, and also gives the reader a chance to discover what makes the Faroes intriguing and spellbinding. Being a largely unknown territory to most, Dead Men Dancing includes a useful introduction to the modern reality of these islands by the CEO of the Faroese Broadcasting Corporation, mirrored by the social commentary that lies at the heart of the book itself, and the portrayal of the relationship with Denmark throughout the years. 

This is only Isaksen’s second novel to be translated into English following Walpurgis Tide. This contemporary Faroese crime fiction writer places his characters in the wild, beautiful, and unforgiving environment and allows them to search for truth. The judges found the location to be absolutely integral to the unfolding of the plot, and how the raw natural beauty of the Faroes served as a reflection of the thoughts and actions of the characters.

Dogged and uncompromising, Martinsson is a superb creation, similar in his ‘detective’ thinking and approach to Gunnar Staalesen's lonely wolf PI Varg Veum, which the judging panel found very appealing. Martinsson's gloomy demeanour and natural cynicism was beautifully balanced throughout with the more empathetic side of his nature, and in the age-old tradition of crime fiction his personal and professional relationships are fraught with tension. 

The translation by Marita Thomsen is both accomplished and a little unusual, drawing as she does on the vernacular and intonation of the Scottish dialect. Again, the judges found this to be refreshingly different, and enjoyed the unique cadence and rhythm this gave to the book overall, an essential quality of any book in translation. 

The judges agreed that in Dead Men Dancing the balance between location, plot and characterisation worked well, incorporating some of the familiar tropes of crime fiction, but also providing a refreshingly different reading experience. This was achieved by the depiction of the Faroes themselves and their history, working in symmetry with the narrative, and also by the characterisation of Martinsson, reminiscent of the traditional spare style in Nordic crime fiction. The assured and distinctive translation was also a significant factor in the judges' overall decision. 

Statements from the winning author, translator and publisher:

Jógvan Isaksen (author): 

I feel it is a great honour to win this award, especially when I see that the competition includes several of my favourite Scandinavian authors. I am also proud to represent my country, the Faroe Islands, a self-governing part of the Danish Kingdom with its own language and traditions. Furthermore there are special bonds between the UK and The Faroes since the friendly occupation during World War II. I personally became a member of Collins Crime Club when I was only thirteen, and fought my way through crime novels I could hardly read. But at last I got there and have for many years been an admirer of Agatha Christie, Dorothy Sayers, Eric Ambler, Colin Dexter, Ian Rankin and many, many more. 

Marita Thomsen (translator): 

It was thrilling to translate the Faroese novel Dead Men Dancing and a great honour to receive the Petrona Award. I am privileged to find myself in the company of the master crafters of stories and languages shortlisted this year, congratulations to all! My thanks first and foremost to Jógvan Isaksen for keeping us in suspense, as he navigates the rugged outlines of the psychology and wild shores of the Faroe Islands. This book offers a fascinating window into regional tensions in the archipelago and historical tensions in the Kingdom of Denmark. Thank you to the passionate Norvik team for expert guidance and editorial advice. And to Richard and Jane for your patience and boundless enthusiasm for everything, even the difference between rowing boats and oared boats. 

Janet Garton (Norvik Press Commissioning Editor):

We are delighted that Dead Men Dancing has won this year’s Petrona Award. Jógvan Isaksen is a master of suspense, and his maverick amateur sleuth Hannis Martinsson takes the reader on hair-raising trips by land and sea before – of course – solving the mystery before the frustrated police. The Martinsson series was the basis of the successful TV series TROM, and this is the second of the series to be published by Norvik Press, after Walpurgis Tide in 2016. Hopefully there will be more to come! 

 



Friday, 13 September 2024

Petrona Award 2024 Longlist

Ten crime novels from Denmark, Iceland, Norway and Sweden have made the longlist for the 2024 Petrona Award for the Best Scandinavian Crime Novel of the Year.


They are:

You Will Never Be Found by Tove Alsterdal, tr. Alice Menzies (Sweden, Faber & Faber)

The Collector by Anne Mette Hancock, tr. Tara F Chace (Denmark, Swift Press)

Snow Fall by Jørn Lier Horst, tr. Anne Bruce (Norway, Michael Joseph)

Stigma by Jørn Lier Horst and Thomas Enger, tr. Megan E Turney (Norway, Orenda Books)

The Girl by the Bridge by Arnaldur Indriðason, tr. Philip Roughton (Iceland, Harvill Secker)

Dead Men Dancing by Jógvan Isaksen, tr. Marita Thomsen (Faroe Islands (Denmark), Norvik Press)

The Sins of our Fathers by Åsa Larsson, tr. Frank Perry (Sweden, MacLehose Press)

White as Snow by Lilja Sigurðardottir, tr. Quentin Bates (Iceland, Orenda Books)

The Prey by Yrsa Sigurðardottir, tr. Victoria Cribb (Iceland, Hodder & Stoughton)

The Girl in the Eagle's Talons by Karin Smirnoff, tr. Sarah Death (Sweden, MacLehose Press)


The long list contains a mix of newer and more established authors including previous Petrona Award winners, Jørn Lier Horst and Yrsa Sigurðardottir.

Both large and small publishers are represented on the longlist, with Orenda Books and MacLehose Press both having two entries, and the breakdown by country is Iceland (3), Sweden (3), Denmark (2) and Norway (2).

The shortlist will be announced on 10 October 2024.

The Petrona Award 2024 judging panel comprises Jackie Farrant, the creator of RAVEN CRIME READS and a bookseller/Area Commercial Support for a major book chain in the UK and Ewa Sherman, translator and writer, and blogger at NORDIC LIGHTHOUSE, with additional help from Sarah Ward, author, former Petrona Award judge and current CWA Crime Fiction in Translation Dagger judge.

The Award administrator is Karen Meek, owner of the EURO CRIME blog and website.

The Petrona team would like to thank both our sponsor, David Hicks, for his continuing support of the Petrona Award and the CWA, in particular Maxim Jakubowski, for allowing Sarah to step in following the very unexpected death of our much missed judge and friend Miriam Owen.




Thursday, 16 May 2024

Extract from Murder Under the Midnight Sun by Stella Blómkvist

 I sprint through the ruins of the building.

Alexander is reversing the jeep out of the yard in front of the new farmhouse when I come running down the pasture.

I run for the silver steed.

Sissi sees me coming and opens the driver’s door.

The black jeep’s about to turn onto the road as I haul my car around in a half-circle in the gravel and put my foot down hard. The tyres howl on the dirt road’s surface, kicking up dust that surrounds us like a storm cloud.

He’s heading north.

Where’s the bastard going?’

He’s not making for Sauðárkrókur, that’s for sure.’

I hand Sissi my phone.

Call Lísa Björk,’ I tell him. ‘Make sure she’s in touch with Raggi.’

I’m on the black jeep’s tail.

Alexander isn’t hanging around. But the silver steed is steadily closing the gap. It’s raring to go like a racehorse that doesn’t know the meaning of coming second.

He’s driving fast on the coast road leading north.

Where does this road go?’

First out to Skagatá, from there to Skagaströnd and Blönduós and then onto Highway One,’ Sissi replies.

There’s no more than a few metres between the cars.

Alexander must realise that he’s not getting away from me. I’ll always be on his tail. 

Like a vengeful witch.

What will his desperation make him do?

He could easily do something crazy, like braking hard in the hope of wrecking my silver steed.

It’s a risk I have to take.

He could also make a serious mistake. He could lose control of the jeep.

We hurtle along the coast road at an insane speed in this mad race. I keep the silver steed as close as I dare.

It’s just as well there’s no other traffic. But I know that could change at any moment.

There’s a truck coming the other way!’ Sissi yells.

Alexander has clearly noticed it too late.

He swerves to avoid a collision. But he’s in the loose gravel at the side of the road. Like an idiot, he stamps hard on the brakes.

The black jeep is hurled off the road. It rolls over and over on its way towards the sea. It ends up on the rocky shore.

I stop the silver steed by the side of the road. I jump out and hurry down to the shore where the jeep lies on its side.

Alexander is held in by the seatbelt.

There’s blood on his face. But he’s conscious.

I go to the front of the jeep. I stare at him through the shattered windscreen.

Tell me where you buried Julia’s body,’ I say.

Alexander looks back at me with a wild glint in his eye.

Then he starts to laugh like a maniac.

You’ll never find a body at Gullinhamrar,’ he says, alternately coughing and laughing. ‘Never. Not ever.’


Murder Under The Midnight Sun bycStella Blómkvist, Translated by Quentin Bates (Corylus Books)

What does a woman do when her husband's charged with the frenzied killing of her father and her best friend? She calls in Stella Blomkvist to to investigate - however unwelcome the truth could turn out to be. Smart, ruthless and with a flexible moral code all of her own, razor-tongued lawyer Stella Blomkvist is also dealing with a desperate  deathbed request to track down a young woman who vanished a decade ago.  It looks like a dead end, but she agrees to pick up the stone-cold trail - and she never gives up, even if the police did a long time ago. Then there's the mystery behind the arm that emerges from an ice cap, with a mysterious ruby ring on one frozen finger? How does this connect to another unexplained disappearance, and why were the police at the time so keen to write it off as a tragic accident?

Brutal present-day crimes have their roots in the past that some people would prefer to stay forgotten. As Stella pieces together the fragments, is she getting too close to the truth and making herself a target for ruthless men determined to conceal secret sins?


Tuesday, 19 March 2024

Hostile Environments by Slava Faybysh

Anyone who has spent time in a leftist organisation has probably had a lot of haters. I myself was knee deep in a radical union for a while, and there was a guy once who wrote a full thirty pages detailing why I sucked. Then he went through the trouble of making copies of his screed and passing it out to everyone. A committee had to be put together to read the charges, and they decided it was “just a misunderstanding.”

That was only one example of the uphill battle I faced when I tried to dedicate my life to the left. Sometimes the left, despite its claim to be building a better world, can feel like a hostile place where everyone criticizes everyone over minor differences of opinion. For some reason, I had willingly placed myself in that environment. (I should note, though, that the other issue is that I can be a dick at times.)

These days, it seems like the whole world has become a more hostile place. Right-wing parties seem to be gaining ground everywhere. Like the newly elected president of Argentina, a real piece of work. This is a guy whose symbol is the chainsaw. He wants to take a chainsaw to anything even remotely smacking of socialism. He’s also a denialist who claims that upwards of 30,000 people weren’t killed and tortured and disappeared during the 1976–1983 dictatorship, that the number was less than 10,000.

Milei was only six years old at the time of the coup, and luckily there are still people around who have firsthand knowledge of what happened. Elsa Drucaroff is one of those people. She was eighteen at the time, working at a leftist magazine, when she heard the news that this guy named Rodolfo Walsh had been ambushed by the Argentine Army. Rodolfo Walsh against the full force of the Argentine Army, alone, armed with a measly .22 calibre pistol. He didn’t stand a chance. But he went down fighting.

After he was killed, Elsa Drucaroff went on to become a literature professor at the University of Buenos Aires, where one of the authors she taught classes on was this self-same Rodolfo Walsh. And decades later she went on to write a book about him, too, called Rodolfo Walsh’s Last Case. It’s a fictionalized account of the end of his life, pieced together with the few facts available and packaged in the form of a fast-paced thriller. When I got the opportunity to translate the novel, I jumped on it. I knew very little about the Argentine Dirty War before I read the novel, and I had never even heard the name Rodolfo Walsh, though he was an incredibly important figure in Argentine history.

Rodolfo Walsh was a journalist and a writer of fiction, and he was the first to write true crime. Written almost a decade before Truman Capote’s In Cold Blood, Walsh’s Operation Massacre is a work of investigative journalism about some Peronist workers killed at a garbage dump outside Buenos Aires. Walsh also wrote detective novels and short stories. 

One of his stories, called “That Woman,” was exceedingly bizarre, but based on real events. In 1955, Evita Perón’s dead body was stolen by the military dictatorship and whisked away to an anonymous gravesite in an undisclosed location in Italy. The military had the bright idea this would come as a blow to Perón’s supporters.

Elsa took the character of Colonel König from this story written by Walsh. In Elsa’s version, the man who had been in charge of stealing Evita’s body in 1955 “has grown bulky, but cannot yet be called elderly.” He’s also a bit of a blunderer (endearing, though) and while he’s dedicated his life to the Argentine military, he’s not quite comfortable with all the torture and raping and killing, and he decides to help Walsh figure out what happened to his daughter. 

Both Walsh and his daughter (in the book and in real life) were members of an armed guerrilla group called Montoneros. People did not know this at the time, but Walsh was the head of intelligence for this group. Rodolfo Walsh’s Last Case centres around Rodolfo’s search for his daughter. After a standoff between the five militants at Vicki’s house and 150 troops, there are conflicting accounts as to whether she was killed along with the other four, or taken alive, which would have meant she’d be tortured, pumped for information, and eventually killed anyway.

But for me, it’s about a guy who’s struggling, nearly completely isolated, against a vicious dictatorship that’s consolidating power. A guy who tries to reason with his own organization, and they won’t take him seriously. A guy stuck between loved ones who are in danger and disappearing and an organization that’s being decimated. It’s about what a man does when things go to shit, and I mean really go to shit, on a personal level and all over the country. Luckily, I don’t think we’ve reached that point yet in the present day, but it sometimes feels like we’re moving in that direction.


Rodolof's Walsh's Last Case by Elsa Drucaroff (Corylus Books) Out Now. Translated by Slava Faybysh

A key figure in the politics and literature of Argentina, Rodolfo Walsh wrote his iconic Letter to my Friends in December 1976, recounting the murder of his daughter Victoria by the military dictatorship. Just a few months later, he was killed in a shoot-out - just one of the Junta's many thousands of victims. What if this complex figure - a father, militant, and writer who delved the regime's political crimes - had also sought to reveal the truth of his own daughter's death?  Elsa Drucaroff's imagining of Rodolfo Walsh undertaking the most personal investigation of his life is an electrifying, suspense-filled drama in which love and life decisions are inseparable from political convictions as he investigates the mystery of what happened to his own daughter.

The head of intelligence for Montoneros, a clandestine Peronist organisation co-ordinating armed resistance against the dictatorship, Rodolfo Walsh was also a prolific writer and journalist, seen as the forerunner of the true crime genre with his 1957 book Operation Massacre.

What if beneath the surface of his Letter to my Friends lay a gripping story lost to history?

A key figure in the politics and literature of Argentina, Rodolfo Walsh wrote his iconic Letter to my Friends in December 1976, recounting the murder of his daughter Victoria by the military dictatorship. Just a few months later, he was killed in a shoot-out - just one of the Junta's many thousands of victims.

What if this complex figure - a father, militant, and writer who delved the regime's political crimes - had also sought to reveal the truth of his own daughter's death? 

Elsa Drucaroff's imagining of Rodolfo Walsh undertaking the most personal investigation of his life is an electrifying, suspense-filled drama in which love and life decisions are inseparable from political convictions as he investigates the mystery of what happened to his own daughter.

The head of intelligence for Montoneros, a clandestine Peronist organisation co-ordinating armed resistance against the dictatorship, Rodolfo Walsh was also a prolific writer and journalist, seen as the forerunner of the true crime genre with his 1957 book Operation Massacre.

What if beneath the surface of his Letter to my Friends lay a gripping story lost to history?

You can find Elsa Drucaroff on X at @Elsa_Drucaroff and on Instagram at @elsadrucaroff

Photo of Slava Faybysh photo by Acie Ferguson

Photo of Elsa Drucaroff by Héctor Piastri



Monday, 15 January 2024

The Origins of The Dancer, by Óskar Guðmundsson

The idea for The Dancer more or less pushed its way into my head. We had spend a weekend in the countryside and I was driving home in the evening, my whole family asleep in the car. I switched on the radio and a Rolling Stones song came on, and a vision suddenly came to me of a young man dancing ballet steps to this song. Forty-five kilometres later, by the time I parked the car outside our home, I had almost the whole story – and the first thing I did was to write down the outline of it. For me it was unheard of that the whole way through I knew what I was going to be writing next, virtually to its end. I’ve often thought that it must be wonderful if every story came unforced and fully packaged like that.

When I had the idea, I saw immediately that it would not take place in the present day. This was a great feeling, as I had been wondering for a while about how interesting it would be to write a tale that takes place before the era of computers and mobile phones. It was demanding but also a pleasure to get to grips with a book that features none of these gadgets. The other aspect I relished was setting the story at just that time, in 1983, when I was in my teens and knew the centre of Reykjavík intimately. So it was a joy to be able to take my thoughts back to those years and remember the locations and all the shops that no longer exist.

Ylfa, my detective, is taking her first steps as a police officer. At that time, this was an overwhelmingly male workplace and one that could be challenging for female officers. While Ylfa may come across as being fragile, she also has an inner resilience and can become a formidable adversary. She’s determined and refuses to allow herself to be pushed around – although this isn’t the case in her turbulent home life. She and her fiancé have a year-old daughter. He’s tired of Ylfa devoting so much time to her job so moves out, taking the child with him, and it’s difficult for Ylfa to get to see her.

Ylfa’s superior officer is Valdimar who is not far off retirement age and has a wealth of experience behind him. He’s a respected figure within the police force. As Valdimar took shape along with the story, I immediately felt fond of him. He’s all heart and has a deep-seated sense of justice, but nobody wants to be anywhere nearby when he’s roused to anger. Valdimar is old-school, and has quirks such as a loathing of food that has been heated up in a microwave – a technology that was just starting to appear at that time. The relationship between Ylfa and Valdimar is one of respect and fondness, and he fights her corner when the going is tough at the station and also at home. He becomes something of a father figure for Ylfa.

It was highly challenging and frequently emotionally demanding to write the story of Tony, who is The Dancer of the title. We get to know him when he’s around twenty years old, although we also see glimpses of his sick mother starting to teach him to dance from the age of three. His whole life is infused with insane child-rearing strategies, violence and abuse. My hope while writing The Dancer was that readers would form a close enough connection with his horrific circumstances to realise what happens as he begins to lead a life of his own, with what can only be described as no hope whatever of finding a place of his own in society.

To begin with, the novel had a conventional format, mainly taking place from the points of view of Valdimar and Ylfa. When I came to write the Tony the Dancer’s own scenes, it quickly became clear that to do his tragedy justice, I’d have to spend more of the narrative inside his head. That served also to make the story more graphically brutal as the reader is presented directly with what Tony sees.

The Dancer is the book that caused me the most gut-wrenching anxiety, and I had practically convinced myself that I was putting an end to my writing career. I was certain that the responses would be dreadful, and there would be no way back from this. I was completely aware that readers would find the story disturbing but I was mainly concerned that they would see it as unbelievable. It came as a huge relief when the story was a bestseller and was selected as the best crime story of the year by audiobook producer Storytel, which today is Iceland’s largest publisher. Now The Dancer is published in the UK and the reviews have been overwhelmingly positive. I’m delighted with the reception it has received, and this is what provides the tailwind you need to keep writing – and I’m grateful to Corylus Books and my translator Quentin Bates for their faith in me.

The next story in the trilogy The Puppetmaster has already appeared in Iceland. In The Dancer we got to see Ylfa coping with her family problems, and this continues in The Puppetmaster as we get to see more unfold. She and Valdimar are presented with a new case, which centres around a boys’ home in rural Hvalfjörður where people are disappearing one by one. Their investigation uncovers a murder case dating back a decade, something that was never solved when siblings were found tied beneath a buoy in Reykjavík harbour. The story addresses how children who failed to fit into the system were treated, sent to these correctional homes, often with horrific consequences. It also takes on the longstanding Icelandic problems of nepotism and favouritism that have resulted in a great deal of corruption in the country’s public life.


The Dancer by Óskar Guðmundsson, translated from Icelandic by Quentin Bates (Corylus Books) Out Now

Life was never going to be a bed of roses… Tony is a young man who has always been on the losing side in life. He was brought up by his troubled, alcoholic mother who had a past of her own as a talented ballerina, until a life-changing accident brought her dreams to a sudden end. As her own ambitions for fame and success were crushed, she used cruel and brutal methods to project them onto her young son – with devastating consequences. There’s no doubt that a body found on Reykjavík’s Öskjuhlíð hillside has been there for a long time. The case is handed to veteran detective Valdimar, supported by Ylfa, who is taking her tentative first steps as a police officer with the city’s CID while coping with her own family difficulties. It’s not long before it’s clear a vicious killer is on the loose - and very little about the case is what it appears to be at first glance.

The Dancer was originally published in 2023 as a Storytel Original Series 

ISBN: 978-1-7392989-5-1

Price £9.99

eBook pub date: 5th January 2024

Paperback pub date: 1st February 2024

https://corylusbooks.com/

Twitter: @CorylusB @oskargudmunds @graskeggur

https://www.facebook.com/CorylusBooks


Quentin Bates has personal and professional roots in Iceland that go very deep. He is an author of series of nine crime novels and novellas featuring the Reykjavik detective Gunnhildur (Gunna) Gísladóttir. In addition to his own fiction, he has translated many works of Iceland’s coolest writers into English, including books by Lilja Sigurðardóttir, Guðlaugur Arason, Einar Kárason, Óskar Guðmundsson, Sólveig Pálsdóttir, Jónína Leosdottir and Ragnar Jónasson. Quentin was instrumental in launching Iceland Noir in 2013, the crime fiction festival in Reykjavik.


Tuesday, 19 September 2023

Extract from Murder at The Residence


 The old guy mumbles in his hospital bed.

‘What did you say?’ I ask, leaning closer.

‘Death says check mate.’

He’s not much more than skin hung on old bones. His skin is pale grey, stretched across bones that stick out as if all the meat has gone from them. His hair’s grey and sparse. But there’s life in his eyes. They’re blue-green like the deep sea. A pair of twinkling stars in a body close to death.

I’ve outsmarted death more than once,’ he continues. ‘And more than twice.’

His voice is faint, hardly more than a whisper.

‘Now my battle’s almost over and the doctors say I have at best a few days to tie up loose ends.’

Hákon has a drip in his arm that feeds him. A computer monitors his pulse that flickers at around fifty beats a minute. There’s an oxygen mask hanging down on his chest and occasionally he feebly pushes it up to his dry, parted lips.

I put my russet-brown briefcase on the floor in front of the monitor.

‘It’s been a marathon and it’s almost over. I’m not running away from death any longer. No point now.’

‘The nurse said you had a final wish. What’s that?’

‘The sin of neglect weighs heavy on me.’

‘Sin? Wouldn’t you be better off with a priest?’

‘Not that sort of sin,’ Hákon says.

A middle-aged nurse looks in when he starts to cough. She makes the old man comfortable in his bed. She moistens his dry lips, passes a damp cloth over his pale grey forehead.

‘There you go, Hákon. That’s better, isn’t it?’ she clucks, without expecting a reply. Then she’s gone back along the corridor. A merciful angel in human guise.

This place gives me the horrors. I swear to myself again that I’m not going to end my days here in death’s waiting room. I try to get this visit over as soon as I can.

‘So, what can I do for you?’ I ask.

‘Are you in a hurry as well?’

‘Yes. Always.’

‘I’d like to ask you to clear the way for me to complete a task I never had the energy to finish,’ Hákon says.

‘Let’s hear it.’

‘I’ve always found injustice hard to bear,’ he continues, his voice weakening. ‘It’s been a hell of a burden sometimes because in this world there’s so much that’s unjust. There are evil people running everything, and I’m sad to say I was never any kind of a hero. I often felt bad over the injustices I witnessed, and mostly never did anything.’

‘Mostly?’

‘Except once.’

Hákon pulls at the oxygen mask with his right hand and presses it to his face. The hand shakes and trembles.

I look away, glance around for a chair. I pull a white stool up to the bed, and sit.

The old man’s stable, for the time being.

‘What happened that one time?’ I ask with impatience.

‘Come closer,’ he whispers.

I’m on my feet, closer to the bed. I lean down to his face. Even though I feel sick at the foul smell of death that’s coming from him.

‘I had to do something,’ he breathes.

‘What did you do?’

‘Killed a man or two.’

I’m taken uncomfortably by surprise. I’m not sure I’ve heard him right.

‘You killed a man or two?’ I repeat.

‘Aye. There were two of them.’

I straighten my back. Looking into his blue-green eyes. They look perfectly clear.

‘Are you messing with me?’ I ask coldly.

‘No.’

This makes me shiver.

‘I don’t regret it in the least,’ he whispers. ‘I had to do it to save my child from a terrible fate.’

‘What child?’

‘I’m asking you to find my child.’

‘What child are we talking about?’

‘She was about a year old.’

‘Who?’

‘I don’t know what her name is now,’ Hákon whispers. ‘She was christened Ásthildur. She was given a new name when she was adopted.’

‘When was this?’

‘Summer 1972.’

I quickly do the sum in my head.

‘So now she’d be getting on for forty?’

‘Ásthildur will be thirty-eight at the end of May. Her birthday’s the twenty-fifth of May.’

‘Why should I search out this woman?’

‘I want my child to know the truth.’

’What truth?’

‘The truth about her parents. The truth about Hjördís and me.’

Hákon’s eyes flicker to one side, to the white table by the bed.

‘Open the drawer.’

I pull the handle on the white cabinet. There’s a brown cigar box held together with tough red tape.

‘Take the box with you.’

‘What for?’

‘You have to find my child,’ he whispers. ‘You have to tell her the truth.’


Murder at the Residence by Stella Blómkvist (Translated by Quentin Bates) Corylus Books

It’s New Year and Iceland is still reeling from the effects of the financial crash when a notorious financier is found beaten to death after a high-profile reception at the President’s residence.The police are certain they have the killer – or do they? Determined to get to the truth, maverick lawyer Stella Blómkvist isn’t so sure. A stripper disappears from one of city's seediest nightspots, and nobody but Stella seems interested in finding her. A drug mule cooling his heels in a prison cell refuses to speak to anyone but Stella – although she’s never heard of him. An old man makes a deathbed confession and request for Stella to find the family he lost long ago. With a sharp tongue and a moral compass all of her own, Reykjavík lawyer Stella Blómkvist, with her taste for neat whiskey, a liking for easy money and a moral compass all of her own Stella Blómkvist has a talent for attracting trouble and she’s as at home in the corridors of power as in the dark corners of Reykjavík’s underworld.