A Quote by Jo Nesbo

Ever since the '70s, Maj Sjowall and Per Wahloo were the godfathers of Scandinavian crime. They broke the crime novel in Scandinavia from the kiosks and into the serious bookstores.
Scandinavian crime fiction has become a great success all across the world and rightfully so. Sjowall and Wahloo ushered in a whole generation of Swedish crime writers, many of whom are now available in English.
If you want to start reading Swedish crime fiction, you have to start with Sjowall and Wahloo.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
Why is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
suicide is a crime - the only crime that, if successful, guarantees that the perpetrator will not be punished for it. This makes it the most serious crime of all.
I am a master of fiction. I am also the greatest crime novelist who ever lived. I am to the crime novel in specific what Tolstoy is to the Russian novel and what Beethoven is to music.
'The Turnaround' isn't even really a crime novel. But you need conflict to make a novel, any kind of novel, and I don't know any other way to do it than crime.
All novels are about crime. You'd be hard pressed to find any novel that does not have an element of crime. I don't see myself as a crime novelist, but there are crimes in my books. That's the nature of storytelling, if you want to reflect the real world.
The best crime stories are always about the crime and its consequences - you know, 'Crime And Punishment' is the classic. Where you have the crime, and its consequences are the story, but considering the crime and the consequences makes you think about the society in which the crime takes place, if you see what I mean.
We are not prepared to consider special category status for certain groups of people serving sentences for crime. Crime is crime is crime, it is not political
That's why I love crime novels so much: When I write a crime novel, the conflict is built in.
I grew up reading crime fiction mysteries, true crime - a lot of true crime - and it is traditionally a male dominated field from the outside, but from the inside what we know, those of us who read it, is that women buy the most crime fiction, they are by far the biggest readers of true crime, and there's a voracious appetite among women for these stories, and I know I feel it - since I was quite small I wanted to go to those dark places.
While crime is indeed up in some cities in the last month or so since the stay-at-home orders lifted, crime is nonetheless down overall for 2020. Indeed, violent crime has trended downward now for decades.
It seems to me that one of the things that happened with a lot of literary fiction in the 1980s and 1990s was that it became very concerned with the academy and less with how people live their lives. We got to a point where the crime novel stepped into the breach. It was also a time when the crime novel stopped being so metropolitan.
Once I got interested in organized crime, and, specifically, Jewish organized crime, I got very interested in it. I have learned that, like my narrator Hannah, I'm a crime writer in my own peculiar way. Crime with a capital "C" is the subject that I'm stuck with - even Sway is about "crime" in a certain way. The nice thing about crime is that it enables you to deal with some big questioO
I was a late bloomer. I was 38 when my first book was out and 43 when my first crime novel was out. I had a story that could only be told as a crime story. I think the genre is good; it deals with the fundamental questions of life and death. The problem is there are too many bad crime stories.
This site uses cookies to ensure you get the best experience. More info...
Got it!