As Night Orchid opens, a wolf wanders silently through the streets of Stockholm. Like a foreboding sign that something is twisted, that nature is encroaching on civilisation. Winter has come; Lake Mälaren is frozen, the night is dark. As the wolf crosses the Västerbro Bridge, it pauses briefy, as everyone does, to gaze out across one of the world’s most beautiful capital cities.
Not far from there, by another bridge, a brutal murder takes place. The state of the body suggests the killer was a large predator, which is bewildering the police. Ebba Lindh watches the first responders secure the scene from her kitchen window and thinks to herself that this might end up on her brother’s desk, a detective with the city’s Violent Crimes Division. She is right; Robert Lindh is at the scene and is later put in charge of the investigation.
This is the first in a series of vicious murders that appear clearly yet opaquely linked. The murders constitute the dramaturgical frame for the trilogy.
It is clear from the beginning of the Stockholm Calling trilogy that Niklas Leavy’s voice is a unique addition to the suspense genre. His style is inimitable, sophisticated, linguistically limber and suffused with a darkness and a drastic accuracy that sets his writing apart from other Scandinavian crime writers. Niklas Leavy is a new and convincing storyteller that will keep the readers on their toes never knowing what to expect.
Stockholm Calling is an impressive thriller trilogy with a distinctly international feeling. Apt comparisons, on several levels, might include Stieg Larsson’s Millennium trilogy, Jo Nesbø’s Harry Hole series and Dennis Lehane’s stand-alone thrillers, to name but a few.
Swedish manuscript (final)