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- Philip Pullman's The Book of Dust preview
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- The 33 Greatest Movie Trilogies | Movies | Empire
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They did not read manuscripts from first-time authors.
Philip Pullman's The Book of Dust preview
Today, one almost pities them. The editing went slowly, because Larsson was always overscheduled. In them we find Gedin asking Larsson politely, but with increasing emphasis, to make room in his schedule to meet with her and hear her editorial suggestions. He responds blithely that he will do so, eventually. One afternoon, seven months after the contract was signed, he went to work at Expo, found that the elevator was broken, climbed seven flights of stairs, had a heart attack, and died. He was fifty. In part because Larsson was not alive when the books were published, the Millennium trilogy has been surrounded by a number of controversies, the juiciest being the question of who should be receiving the fortune the books have earned.
The two of them never married, however. Larsson—and, later, Gabrielsson—said that this was a way of protecting her; she would not run his risks. When Swedes die intestate, everything is awarded to their kin—a strange law in a country where unregistered unions are almost the rule. These two men were not unaware of the awkwardness of their position.
She refused this offer, at which point the dealings between the two parties grew nasty. Gabrielsson told the press that Larsson had been alienated from his father and brother.
They, in turn, suggested that Gabrielsson was psychologically disturbed. Does Gabrielsson really have the laptop? At one point, she told the press that she had given it to Expo. Meanwhile, a lot of people think that she has been terribly wronged. If you call up www. Another question that has been raised about the trilogy is: Who wrote it? Another colleague has come right out and said that someone else must have authored or at least heavily edited the books. The person most often pointed to is Gabrielsson, who is reputed to have good literary skills.
She is an architect and writer. Asked about her contribution to the trilogy, Gabrielsson has been as elusive as she was about the laptop. In an interview with Swedish National Television, she denied having given any direct assistance. Furthermore, they had only seven months together.
When I asked Gedin whether, as a result, the books received little editing, she firmly denied this.
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With the second and third books, she said, she suggested some revisions, and Larsson indicated his approval. Still, Norstedts may have been reluctant to make extensive changes that the author had not survived to oversee.
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As for the English edition, it was apparently not subject to any such scruples. The translation was done at top speed because Norstedts needed to show it to a film company , and then it was heavily revised by its editor, Christopher MacLehose, of Quercus Press, in London. Gabrielsson registered bitter complaints about the changes. So did the translator, Steven Murray. He actually took his name off the novels; he is credited under a pseudonym, Reg Keeland. MacLehose stands by his work. In its edited form, as many Americans bid for it.
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However much the book was revised, it should have been revised more. The opening may have been reworked, as Gedin says, but it still features an episode—somebody telling somebody else at length twelve pages! And, pace Gedin, it is preceded by a substantial description of a flower. Elsewhere, there are blatant violations of logic and consistency. Loose ends dangle. There are vast dumps of unnecessary detail. The dialogue could not be worse.
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The phrasing and the vocabulary are consistently banal. She realized with terrifying clarity that she was out of her depth. Maybe somebody will franchise this popular series—hire other writers to produce further volumes. This is not a bad idea. The most crippling weakness of the trilogy, however, is its hero. Mikael Blomkvist is so anti-masculinist that, in a narrative where people are brandishing chainsaws, he can take no forceful action.
That goes for his sex life, too, which features heavily in the plot. Mikael is irresistible to women, we are told, yet he never makes the first move. Lisbeth is more direct. She just walks into his bedroom in the middle of the night and plops down on him. He apparently gives all his bedmates a good time, but one wonders whether he has a good time.
A girlfriend says to him that he seems to get a fair amount of action. Again and again, he tries to maneuver his relations with Lisbeth out of sex and into friendship. She is not sure how to answer. These films were huge hits, and they certainly bumped up the sales of the books. Like many mediocre novels, the trilogy is far better on the screen than on the page.
The screenwriters, trying to bring their stories down to two hours, got rid of a lot of the clutter and scrubbed off the sugar coating that Larsson put on the relationship between Mikael and Lisbeth. Finally, the movies give us lovely things to see—fog-bound islands, dewy leaves. Sony is now producing an American movie trilogy, with Daniel Craig as Mikael. She will have big boots to fill. Nothing in the three Swedish films is better than Noomi Rapace, the actress who plays Lisbeth. In most of the first movie, to show us how surly and unapproachable Lisbeth is, Rapace wears her punk hairdo so that it covers her left eye.
Yet whether she has one eye or two eyes, she communicates something like a five-act tragedy. It is clear what people like in these movies, but what accounts for the success of the novels, despite their almost comical faults? Larsson may have had a weakness for extraneous detail, but at the same time, paradoxically, he is a very good storyteller. Early in the trilogy, we find out that when Lisbeth was a child her mother was regularly beaten senseless by her mate, Alexander Zalachenko, a Russian spy who had defected to Sweden, where a secret branch of the security police put him on the payroll, thinking that he could tell them useful secrets.
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This is a brilliantly orchestrated scene, if you can stand it. Zalachenko shoots Lisbeth in the head. She runs her fingers over her skull. She finds the hole, feels her wet brain. Near the end of the last book, Niedermann holes up in a brickworks that Zalachenko once owned. When he arrives, he finds two Russian girls, a brunette and a blonde, who have been deposited there by sex traffickers. They are afraid to go outside, and are starving. Part of the answer may lie in the culture in which the Old Testament was written. Israel was surrounded by nations who were all polytheistic - they believed in many gods.
It was important for Israel to realize that the God of the Bible is the only God who existed.