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Swedish Press N Y A
S V E N S K A
www.SwedishPress.com
Enchanted Castles of Sweden
P R E S S E N
E S T . 1 9 2 9
March 2019 Vol 90:02 $5.95
02 2019
Riddarhuset Lars Kepler Interview with Olle Wästberg Icehotel 2019
E X C L U S I V E
I N T E R V I E W
Meet the Ahndorils, the Couple Behind the Author Lars Kepler
Lars Kepler: Alexander Ahndoril and Alexandra Coelho Ahndoril. Photo©Ewa-Marie Rundquist
Alexander Ahndoril and Alexandra Coelho Ahndoril are among the most internationally known Swedish crime fiction writers, writing under their pseudonym Lars Kepler. In addition to being independent authors of many books and plays, they have so far jointly written eight crime novels in the Joona Linna series, most of which are available in English. One of these, the hair-raising page-turner Stalker, has just been published in the United States by Alfred A. Knopf. In total, five of the existing Joona Linna novels have been published in the United States, with the 6th book (Rabbit Hunter) expected in 2020. The series has sold 13 million copies in 40 languages. Interviewed by Peter Berlin
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W I T H
L A R S
K E P L E R
Please tell us about your background and what made you decide to become authors. Alexander: I grew up in Upplands Väsby. My family has its roots in Småland, Uppland and Hälsingland. Early on I took an interest in reading as well as in art. I would spend long hours reading in libraries, and I also started painting, mostly in oil. I wanted to become some kind of Caravaggio. Then I moved to Stockholm and studied philosophy and cinematography at the university. I was 18 when I wrote my first novel which was accepted by Nordstedts, and I have been writing ever since. I had written 9 novels and some twenty plays before Alexandra and I took up writing detective stories together. Alexandra: I grew up in Helsingborg and wanted to become an actor. I was admitted to the National Academy of Mime and Acting and met Alexander at a party. He persuaded me to become a novelist, which is not all that different from being an actor, since in both cases you endeavour to instil life into words. I had previously written three non-fiction books. We were married and began writing together. So that is the roadmap to our novels. Now that you collaborate on writing the Joona Linna series of detective stories, please describe a typical working day. In the morning we have breakfast before sending the children off to school. Then we take our coffee mugs to our office where we each have a computer. We take turns writing different parts of the same story. We email them to each other and make additions and changes as we see fit. We continue emailing the evolving parts to each other until finally we’ve forgotten who wrote what. Where do you find the inspiration for the plots? That is indeed a mystery. Once you have finished a novel, you temporarily feel that you will never become inspired again. But then it just happens – based on life, memories, and things we have heard about. Fundamentally, we write about things that frighten us. Writing means taking control over our own fears, and that applies to both the author and the readers. A detective story is a journey from chaos to order. Contrary to real life, the perpetrator in the story is always apprehended. There are heroes and the mysteries are explained, so the journey is a positive one. As for finding inspiration in news media, it is true that reality can be stranger
E X C L U S I V E
I N T E R V I E W
than fiction, but the media usually only describe the initial event and leave the reader hanging as regards the outcome until months or years later, if ever. As authors we are interested in the answers to the question of how a person might react in extreme circumstances, or what leads to an entanglement in a bad situation. Do you plan the plot and the characters in advance? Yes and no. Planning is a slow process in which we discuss, conceive the plot and stick little slips of paper on the wall so that we can keep track of the milestones and turn of events. The storyline is clear to us when we sit down and start writing. That is when the magic happens, because everything springs to life, and the story might choose a different direction from what we had planned. We “listen” carefully and re-arrange the slips of paper as necessary. Inspiration is the most important thing, and the greatest challenge is to make the story hang together. But it can also happen that the characters begin to speak and act on their own, and we the authors become stenographers who struggle to keep up. Sometimes Alexander is busy writing pure dialogue and whispers to himself, which Alexandra finds distracting! How did you arrive at the pseudonym Lars Kepler? It began with our desire to write together. We had written several books on our own, which is a lonely life. We talked about writing a joint novel but always ended up in an argument, because our styles are so different. Then we had the idea of inventing a third author who was neither Alexander nor Alexandra. That solved the problem, because Lars Kepler was
W I T H
L A R S
K E P L E R
now the real writer, and the two of us were merely supporting him in his task to arrive at a meaningful story. At the same time it is great to be two persons in the background, because we keep generating new ideas and exchanging texts. The pseudonym “Lars Kepler” was inspired by Johannes Kepler, the 16th century German astronomer who, like a real detective, took Tycho Brahe’s observations and cleverly figured out that the planets move around the sun in elliptic orbits. The “Lars” is also meant to pay homage to the late Stieg Larsson who injected new life into Swedish crime fiction through his Millennium trilogy. The protagonist in modern Swedish crime fiction is often a down-at-heel, divorced or alcoholic police officer rather than the more traditional private detective immaculately dressed in a tailored suit. Wherein lies the attraction? American detective stories have exerted a big influence on modern Swedish crime fiction. The traditional aristocrat who sat and solved crimes using clues was replaced by the man in the street in the shape of an ordinary police officer – a true son of the people. In Sweden it was the Sjöwall/Wahlöö couple who set the tone in the 1960s and 70s. Crime fiction is nowadays expected to reflect the torn fabric that society has failed to mend. It is not only about what has happened, but also why it happened. Some of your Joona Linna novels have been made into movies. Can we expect more of the same? Anonymous Content in Hollywood is currently adapting The Sandman (Joona Linna Book 4) for film, and a TV series adaptation of The Hypnotist (Joona Linna Book 1) is also in the works.
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Swedish Press | March 2019 15
Hemma hos
Nature Inspires the Spirit of the 29th Icehotel By Kristi Robinson
A
rne Berg, partner and sculptor at the Icehotel, remarked that “every winter I say that ‘this is the best Icehotel so far’ – but this year it definitely is.” For twenty-nine winters the Icehotel in Jukkasjärvi, 200 km north of the Arctic Circle, has been a site of wonder and awe. Harvested from the Torne River, water frozen into ice inspires sculptors to create rooms based on ideas from the natural world. Some artists address environmental issues, while others find
‘Dancing Auroras’ by Sebastian Dell’Uva & Emilie Steele. Photo: Asaf Kliger
a certain playfulness when working with nature’s ‘snice’ – the perfect combination of snow and ice needed to sculpt the rooms. The artists who are chosen to create the 15 suites aren’t required to have worked with ice before. Selection is based on how original the idea is, and how challenging it will be to create it. Artists can work solo or in pairs, and many of the artist pairs this year were family. After designing a suite at the Icehotel last winter, Swedish couple Sebastian Dell’Uva and Emilie
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[Design]
Steele are back again this year with beautifully poetic ‘Dancing Auroras’. The art of their suite captures the movement and colors of the northern lights while Dell’Uva and Steele tell the tale of “enchanting ballet dancers guiding the newborn atmospheric spirits to rest among the stars before sunrise”.
‘Spruce Woods’ by Jennie O’Keefe & Chris Pancoe. Photo: Asaf Kliger
Another husband-and-wife team, first time Icehotel sculptors Jennie O’Keefe and Chris Pancoe wanted to show the beauty of the Canadian wilderness and give guests an authentic camping experience with their suite ‘Spruce Woods’. In their nostalgic and whimsical interpretation, the artists create a connection to nature with dreams at night of fishing and canoeing by day. The moon softly glows over the clearing of the camp-site where the warm fire flame and the headlights of the campervan break through the misty air.
‘Living Ocean’ by Marnie Green & John Paul Green. Photo: Asaf Kliger
“It’s a nice feeling that you’re borrowing something and it will return at the end”, explains John Paul Green of his first experience sculpting with ice from the Torne River. Alongside his 18-year-old daughter and soonto-be art student Marnie Green, the British duo wanted to highlight the importance of protecting our oceans with their suite ‘Living Ocean.’ This underwater cavern gives the feeling that you are immersed deep in the ocean amongst the sea life of waving foliage, illuminated fish, an ice shark, and a giant whale swimming overhead, all while you sleep in your bed of ice. The room is meant to celebrate the natural wonder of the ocean and leave you feeling inspired to keep it clean and safe for generations to come.
‘Differential Expansion’ by Antonio Camara & Juan Carlos Camara. Photo: Asaf Kliger
Mexican-Canadian brothers Antonio and Juan Carlos Camara created a striking visual metaphor for the issue of global warming and melting of the North and South Poles with their suite ‘Differential Expansion’. Large jagged ice blocks occupy the room, and chiselled crevices flash across the walls. An angled beam of light reflects on the floor, depicting how cracks in the ice manifest themselves when you move about and warm up the surface of the frozen lake. The stress of temperature change causes cracks to appear.
Hemma hos
Different Dreams of Passage to America By Eva Svensson
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pon arriving in New York in 1861, the two-year-old Johan was left with his mother to make the long journey to Minnesota, while his father was promptly carted off from the boat to fight in the Civil War. Many years later, Johan’s dream of an education came true, as he went on to receive four honorary degrees and was knighted by King Gustav V of Sweden. A century later my uncle, a descendant of Johan, greeted me on my arrival to the New World. It was my dream to continue my violin studies on a full scholarship at Boston University. My arrival could hardly have been more different from Johan’s. I was greeted with many loving extended hands. Arriving as a foreign student to America was indeed a treat to behold. After an inspiring six years and a Master’s Degree, I was ready to pursue a career. Although the Stockholm Philharmonic was my first choice, it was a successful audition with the Montreal Symphony Orchestra which led me to establish my roots in Canada. On the same day as that audition I met the other successful violin candidate, Thomas Williams, who would become my future husband. It was an interesting and adventurous 39 years for me with the symphony. Tom performed with the MSO for 18 years, eventually taking on a professorship at McGill University. The orchestra did a lot of inter-
[Treats]
à la Eva Svensson
national touring, and Tom would later at times TOTALLY surprise me by showing up in the middle of a tour and accompany me on some of those musical adventures! The orchestra was among the first in the field to record digitally, and I took part in over 80 discs. It was always a thrill to move to the approved “recording studio” in St. Eustache. It was in an old church, battle scarred from the Lower Canada Rebellion of 1837. To enhance and improve the acoustics, all the pews would be moved to the sides, and wood panels of flooring would be laid. During this time we raised two boys, Erik and Karl, both of them orchestral musicians. Erik plays cello with the Swedish Radio Orchestra, and Karl is a violinist and percussionist and has played with the Montreal Symphony and the Victoria Symphony. At Christmas time we would for many years take out the Beethoven Op.18 string quartets, place a bottle of sherry close by, and
Drömmar
Ingredients: (makes about 50 cookies) • 1 cup sugar • 1/3 cup veg. oil • 1/2 cup butter • 1 1/3 cup flour • 2 tsp vanilla sugar • 1/2 tsp hjorthorns salt (deer salt)
Photo credits: Tom Williams and Eva Svensson.
play through all of them for our own pleasure. Tom and I have recorded a CD entitled “Encore Miniatures”. In this recording, Tom arranged some solo pieces, historically well-known for their crowd-pleasing encore status, now to be played on two violins. My music-making continues to this day together with the man I met at that fortuitous audition in Montreal many moons ago. Dreams do come true. Mine did in 1963, and so did Johan’s 100 years earlier. And speaking of dreams, no one has yet been disappointed in my Swedish ‘dream cookies’, presented at countless parties and as complimentary gifts. Today it is my pleasure to share this ‘dream’ with you.
Preparation: Mix sugar, oil and butter until smooth, using an electric mixer. Mix the rest in another bowl and stir it gradually into the sugar mix. Pay attention to the consistency for making little balls. Add more flour if needed. Bake at 300 degrees F for 30 minutes. The hjorthornssalt is what you pick up on your next trip to Sweden! It is very special and can sometimes also be found elsewhere in Europe. If necessary, you can use baking soda as a substitute (use 1 tsp instead of ½ tsp), but the end result is not quite as good. Either way, enjoy!
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