Reviews

The second volume of Torsten Pettersson's planned crime trilogy.

Mikael Niemi's take on the YA novel is full of humour, often black.

Peter Törnqvist's first novel is an intellectual and urban work speculating upon the world from oblique and baroque angles.

Sigrid Combüchen has finally won the prestigious August Prize for this cleverly composed work delving into the details of a ladies’ novel without plunging into the chicklit category.

An opportunity to reassess Stig Dagerman's novel.

Birgitta Stenberg has written an inventive autobiographical hybrid which subverts the genre.

When it became obvious that this first novel in the series was going straight to the top of the leader board, the media started to chase the elusive Lars Kepler.

The second instalment in Alexander Ahndoril’s planned trilogy of novels based loosely on the lives of three living Swedes.

The third in Johan Theorin’s quartet of novels set on the island of Öland.

Håkan Nesser’s crime novels featuring detective Van Veeteren have been translated into English. The stories about his latest detective, Gunnar Barbarotti, should be on the bookshelf of every English-speaking crime fiction fan.

The tradition of Swedish worker literature is currently in revival; Maria Hamberg's novel continues that revival.

It is difficult to read Maja Lundgren’s new novel without being strongly aroused by it.

Lars Kepler's novel is an exercise in political analysis – national and international bureaucracies, treaties and alliances – and classical music theory.

Stig Dagerman's novel provides a brilliant depiction of the suffering, devastation and moral vacuum in war-ravaged Germany.

The most recent in a sequence of enigmatic, monographic novels by Magnus Florin.

For all the gore, John Ajvide Lindqvist's novel transcends the formulaic boundaries of horror fiction to probe at the interaction of exclusion, powerlessness and violence.

Käbi Laretei's slim volume offers rich pickings to the celebrity-hunter, the cinéaste and the classical musician alike. Sets of love letters like this will soon be a thing of the past. One imagines the leading auteurs of the twenty-first century prefer more ephemeral means of communication.

Anne Swärd’s novel is beautifully written, in controlled, evocative, at times aphoristic language; there is writing to savour on every page.