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Stieg Larsson in his own words
Stieg Larsson's wrote a new kind of crime novel. This extract from his correspondence with his publisher, Norstedts, shows how he avoided stereotypes in creating characters such as Lisbeth Salander and Mikael Blomkvist
Hi Eva,
In many respects I’ve gone out of my way to avoid the usual approach adopted by crime novels. I’ve used some techniques that are normally outlawed – the presentation of Mikael Blomkvist, for instance, is based exclusively on the personal case study made by Lisbeth Salander.
I’ve tried to create main characters who are drastically different from the types who generally appear in crime novels. Mikael Blomkvist, for instance, doesn’t have ulcers, or booze problems or an anxiety complex. He doesn’t listen to operas, nor does he have an oddball hobby such as making model aeroplanes. He doesn’t have any real problems, and his main characteristic is that he acts like a stereotype ‘slut’, as he admits himself. I’ve also changed the sex roles on purpose: in many ways Blomkvist acts like a typical “bimbo”, while Lisbeth Salander has stereotype ‘male’ characteristics and values.
A rule of thumb has been never to romanticise crime and criminals, nor to stereotype victims of crime. In book one I base my serial murderer on a composite of three authentic cases. Everything described in the book can be found in authentic police investigations.
The description of the rape of Lisbeth Salander is based on an incident that actually happened in the Östermalm district of Stockholm three years ago. And so on.
I have tried to avoid making victims of crime anonymous people – so, for instance, I spend a lot of time introducing Dag Svensson and Mia Bergman before the murders take place.
I abhor crime novels in which the main character can behave however he or she pleases, or do things that normal people don’t do without those actions having social consequences. If Mikael Blomkvist shoots somebody with a pistol, even in self-defence, he will end up in dock.
Lisbeth Salander is the exception to this quite simply because she is a sociopath with psychopathic traits, and doesn’t function like ordinary people. She doesn’t have the same concepts of ‘right’ and ‘wrong’ as normal people, but she also has to face up to the consequences of that.
All the best,
Stieg.
The last piece of correspondence was on 28 October, 2004 at 23.39 – Stieg Larsson died on 9 November, 2004. Read Val McDermid on the works and legacy of Stieg Larsson here.
Further reading...
The Girl Who Kicked the Hornets' Nest
by Stieg Larsson
Maclehose Press
Buy now
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