A Quote by David Lagercrantz
Part of the brilliance of Stieg Larsson's books is that they are so complex, so many different facets coming together.
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I know I don't want to be Stieg Larsson my whole life.
I feel more related to some American crime writers than I do to Stieg Larsson.
You have to search for the best writer - I'm not saying I'm the one, but it's a bad idea to just find the person who is a copycat of Stieg Larsson.
The pace of Swedish crime fiction is slower - Stieg Larsson's the exception. And I think we use the environment more.
I was so obsessed by Lisbeth Salander and all the characters, but of course if you're going to write a crime novel worthy of Stieg Larsson, you need a plot, don't you?
I write best when I sort of collide myself with another man. So I think, I hope, that a combination of me and Stieg Larsson will create something good.
I think Stieg Larsson was pretty brave. He wanted to bring up things that we don't like to talk about, or like to ignore.
I said from the start I had to be trustful of the Millennium universe. It was not going to be a Stieg Larsson book, but my interpretation of his iconic characters and universe.
I think the power of Stieg Larsson's stories is that he has the guts to show the hidden spots in the side of Sweden. That gave us a push to say that for the first time. That they can't have with the American version.
What Stieg Larsson was up to - it was the Swedish guilt over World War II. All of our neighbors had the most terrible experiences with the bad forces, but Sweden didn't. I think we use the thrillers in a different way. We never write a thriller like 'Who is the murderer?' The big question in most of our thrillers is... 'Why?'
Like many a better one before me, I have gone down under the force of numbers, under the books and books and books that keep coming out and coming out and coming out, shoals of them, spates of them, flash floods of them, too blame many books, and no sign of an end.
I am not a political writer. I agree with Stieg Larsson and Henning Mankell, who are social writers. I can't write in that fashion. I am not good enough for that. What I am interested in is family dramas and why we are doing bad things to each other and what our motives are.
The cross is the great jewel of the Christian faith and like every great jewel it has many precious facets that are each worthy of examining for their brilliance and beauty.
But, for me, I'm such a complex person with so many different facets and so much depth that asking me the same question twice seems almost unfair to the reader. I'm going to die a mystery already, so you want to find out as much about me as you can while I'm still here.
So my methodological approach is to draw on many different features in highlighting different facets of the novella (and the opera and the film).
What I discerned in the U.S. was a convergence of poetic voices coming from many different rents in the social fabric, many cultures, many tributaries, which, together, make up the American poetry of the late twentieth century.
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