I haven't read "The girl with a dragon tattoo" series but I've heard both good and bad things about them.
(Well, to be honest, the only good thing I've heard about them are sales numbers: 14 million in US alone.)
There's an excellent piece in The New Yorker where Joan Acocella tries to answer why the books are so popular.
[You can read it here: http://www.newyorker.com/arts/critics/atlarge/2011/01/10/110110crat_atlarge_acocella?currentPage=all]
One paragraph of hers is particularly funny—the ending is killer.
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!) about a series of financial crimes peripheral to the main plot—that, by wide consensus, is staggeringly boring. (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. When Lisbeth goes to IKEA, we get a list of every single thing she buys. (“Two Karlanda sofas with sand-colored upholstery, five Poäng armchairs, two round side tables of clear-lacquered birch, a Svansbo coffee table, and several Lack occasional tables,” and that’s just for the living room.) The jokes aren’t funny. The dialogue could not be worse. The phrasing and the vocabulary are consistently banal. (Here is Lisbeth, about to be raped: “Shit, she thought when he ripped off her T-shirt. She realized with terrifying clarity that she was out of her depth.”) I am basing these judgments on the English edition, but, if this text was the product of extensive editing, what must the unedited version have looked like? Maybe somebody will franchise this popular series—hire other writers to produce further volumes. This is not a bad idea. We’re not looking at Tolstoy here. The loss of Larsson’s style would not be a sacrifice.
(Well, to be honest, the only good thing I've heard about them are sales numbers: 14 million in US alone.)
There's an excellent piece in The New Yorker where Joan Acocella tries to answer why the books are so popular.
[You can read it here: http://www.newyorker.com/arts/critics/atlarge/2011/01/10/110110crat_atlarge_acocella?currentPage=all]
One paragraph of hers is particularly funny—the ending is killer.
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!) about a series of financial crimes peripheral to the main plot—that, by wide consensus, is staggeringly boring. (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. When Lisbeth goes to IKEA, we get a list of every single thing she buys. (“Two Karlanda sofas with sand-colored upholstery, five Poäng armchairs, two round side tables of clear-lacquered birch, a Svansbo coffee table, and several Lack occasional tables,” and that’s just for the living room.) The jokes aren’t funny. The dialogue could not be worse. The phrasing and the vocabulary are consistently banal. (Here is Lisbeth, about to be raped: “Shit, she thought when he ripped off her T-shirt. She realized with terrifying clarity that she was out of her depth.”) I am basing these judgments on the English edition, but, if this text was the product of extensive editing, what must the unedited version have looked like? Maybe somebody will franchise this popular series—hire other writers to produce further volumes. This is not a bad idea. We’re not looking at Tolstoy here. The loss of Larsson’s style would not be a sacrifice.
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