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Maj Sjöwall (1935-) | |
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Swedish writer and journalist, who created with her husband Per Wahlöö the detective character Martin Beck and published widely translated novels of Beck and his colleagues at the Central Bureau of Investigation in Stockholm. Several of the books have been adapted into screen. According to the authors' claim, the series was more popular in the United States and France than in Sweden. The critic and awarded mystery writer H.R.F. Keating selected Roseanna (1965) in 1987 for his list of the one hundred best crime novels. "Elofsson was in great pain, and the front of his uniform was already soaked and smeared with blood. He could neither talk nor move, only observe. And still he was more dumfounded than afraid. How could this have happened? For twenty years he'd been driving around shouting and swearing, pushing, kicking, hitting people with his billy club, or slapping them with the flat side of his saber. He had always been the stronger, had always had the advantage of arms and might and justice against people who were weaponless and powerless and had no rights." (from Cop Killer, 1974) Maj Sjöwall was born in Malmö (in some sources Stockholm), southern Sweden, as the daughter of Will Sjöwall and the former Margit Trobäck. She studied journalism and graphics there before finding employment as a reporter and art director at a series of newspapers and magazines. From 1959 to 1961 she was an editor with the publishing house Wahlström and Widstrad. Sjöwall and Per Wahlöö met in 1961 while working for magazines published by the same company. They married next year and the carefully planned crime series was created in the evenings, after their two sons, Tetz and Jens, had been put to bed. It started in 1965 from Roseanna and ended ten years and ten books later with TERRORISTERNA (1975). Sjöwall and Wahlöö's collaborations was seamless, based on the journalistic experience and style that demanded brevity, concision, and attention to detail. According to Wahlöö, their intention was to "use the crime novel as a scalpel cutting open the belly of the ideological pauperized and morally debatable so-called welfare state of the bourgeois type." Of course, even in the 1960s, this kind of radicalism was not meant to make the books more acceptable. "Fortunately none of this has any bearing on the quality of the Martin Beck series itself, which is not only unique in presenting a detailed and evolving vision of police work from a definable political perspective but consistently transcends the level of the average police procedural thanks to a prevailing sense of unease which in the end seems as much existential as ideological." (Micheal Dibdin in The Picador Book of Cime Writing, 1993) With careful research and attention to authentic detail, the series would function as a mirror of the Swedish society by following ten years in the career of the chief of the National Homicide Squad. Beck, the hero, would thus serve as the barometer of a changing atmosphere, reflecting shifts in the political, economic, social climate. The first three novels, Roseanna, The Man Who Went Up in Smoke (1966), and The Man on the Balcony (1967) were straightfoward police procedural novels. They introduced the central characters - solid, methodical detective Martin Beck with failing marriage, ex-paratrooper Lennart Kollberg, a gourmet, who hates violence and refuses to carry a gun, Gunvald Larsson, wildman and a drop-out from high society, Einar Rönn from the rural north of Sweden - he was Wahlöö's favorite figure - and patrolmen Kristiansson and Kvant, whose activities usually lead to some kind of fiasco. Beck suffers from insomnia, and he has troubles with his stomach. He joined the police force in the mid-1940s. Beck met Inga, his future wife in 1951 on a canoe tour. After marriage they moved to Kungsholmen. They have two children. In Roseanna the body of a girl is discovered, but nothing is know of her. Eventually she is linked to Roseanna McGraw, an American, who never returned from her tour of Europe. Martin Beck and colleagues find a photograph in which Roseanna is accompanied by a man. and Beck is convinced he is the killer. "Chance, too, is allowed to play a bigger role than most storytellers, those shapers of events to their own ends, would allow. This, once more, introduces an element of outside reality. So, as one puts the book down, one is apt to think: a good story, and interesting, but also, in the words of the newspaper advertisement, 'all human life is there'." (H.R.F. Keating in Crime & Mystery: the 100 Best Books, 1987) The Laughing Policeman (1968), filmed by Stuart Rosenberg in 1973, and The Fire Engine That Disappeared (1969), brought in the development of the series social themes and weak points of the Western society. Rosenberg's film was set in San Francisco instead of Stockholm and Malmö. In the story Walter Matthau played a detective, who is solving a case in which all passengers in a bus are massacred by an unseen killer. The later novels, and especially the last, The Terrorist, is a bitter analysis of the welfare state, and openly sides with criminals-as-revolutionaries. In Cop Killer (1974) Lennart Kollberg writes his resignation, because of his socialist world view. At the end of the series, Beck is deeply ambivalent about remaining a policeman, because he fears that he is contributing to the violent nature of Swedish society rather than preventing it. The novel was published after Wahlöö's death in 1975. Many of Sjöwall and Wahlöö's successors adopted their critical approach of the abuses of state power, among them K. Arne Blom, Olov Svedelind, Kenneth Ahl, and Leif G.W. Persson.
Selected works:
Martin Beck television films:
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