Читать книгу: «Roseanna»

INTRODUCTION

I read Roseanna almost as soon as it came out, back in 1965. Now, as I'm reading the novel again, I realize that my first reading took place forty years ago and I was only seventeen at the time. Right now that seems to me incomprehensible. How many books have I read since then? And why is it that I remember Roseanna so well? I have a strong and indisputable memory that back then I thought of the novel as straightforward and clear, a convincing story presented in an equally convincing form. Today, as I reread the novel, I see that my first impression still holds true. The book has hardly aged at all. Even the language seems energetic and alive. But what has changed is the world, and I have too. Back then everybody smoked all the time, and there were no mobile phones; public telephones were in use. Everyone went to cafes for lunch, no one had tiny tape recorders in their pockets, and computers were still practically unknown. Sweden was still a society with closer ties to the past than to the future. The huge waves of immigrants hadn't yet begun. Workers arrived to take jobs in certain major industries, but as yet there was no steady influx of refugees. And everyone showed their passports at the border, even those who were travelling only to Norway or Denmark.

Per Wahlöö has now been dead for many years, while Maj Sjöwall has grown older along with me and all the readers they reached a generation ago. Now I'm rereading the novel Roseanna on a December day forty years after its first publication. I've forgotten a great deal, of course, but the novel still stands strong. It's well thought-out, well structured. It's evident that Sjöwall and Wahlöö had carefully laid the groundwork for their plan to write ten books about the National Homicide Bureau — in fictional form but based on reality.

The aim is quite clear. From the very first pages of the novel, for instance, the authors present a thorough examination of the joint decision-making process of various agencies as they organize the dredging of a sludge-filled area of the Göta Canal. This desire to be as thorough as possible continues throughout the entire novel. The intent of the authors is evident — they build up a trust in their readers by presenting meticulous and credible descriptions of various institutions and structures within Swedish society, as it was in the mid-1960s. A country in which Tage Erlander was the prime minister, and cars still drove on the left-hand side of the road.

There is one small detail on the second page of the novel that fascinates me when I see it again. The story begins in early July, with the date clearly specified. A dredging boat has arrived at the canal in Östergötland. The authors write: ‘the vessel… moored at Borenshult as the neighbourhood children and a Vietnamese tourist looked on.’ A Vietnamese tourist! In Sweden in 1965! That may have happened once, at most. But here the authors are giving a nod to the major event of my generation, the Vietnam War. It was the period in Sweden's post-war history when the world had begun to open up. This is worth pointing out, since the authors had a radical purpose in mind for the books they were planning about the National Homicide Bureau. They wanted to use crime and criminal investigations as a mirror of Swedish society — and later on include the rest of the world. Their intent was never to write crime stories as a form of entertainment. They were influenced and inspired by the American writer Ed McBain. They realized that there was a huge, unexplored territory in which crime novels could form the framework for stories containing social criticism.

I can't even count how many times I've been asked what Sjöwall and Wahlöö's books have meant to me. I think that anyone who writes about crime as a reflection of society has been inspired to some extent by what they wrote. They broke with the previous trends in crime fiction. In Sweden Stieg Trenter dominated the market in the 1950s, along with Maria Lang and H. K. Rönnblom. They wrote detective stories in which solving the mystery was the main concern. In Trenter's books, the streets, pubs and food are all described in great detail, but the setting is merely the setting — there is never any direct, real-life connection between the crime and the place where it occurred. The British-style detective novel was the dominant form until the publication of Roseanna. Of particular importance was the fact that Sjöwall and Wahlöö broke with the hopelessly stereotyped character descriptions that were so prevalent. They showed people evolving right before the reader's eyes.

Before 1965 I had read several of Per Wahlöö's novels. I recall especially The Lorry, which was set in fascist Spain. He wrote well, using a straightforward and simple language that gave his story a certain force. I liked what I read. But the publication of Roseanna signalled something very different. I don't know exactly what it meant for Maj Sjöwall to become his collaborator, except that she must have been a source of great inspiration. I have a clear memory that I went back and reread Roseanna after a couple of weeks. I can't remember ever having done that before.

Per Wahlöö and Maj Sjöwall have said that they did find inspiration for their work in the United States. I've already mentioned Ed McBain. But I suspect that they most likely sought inspiration farther back in time, at least as far back as Edgar Allan Poe in the nineteenth century. Many consider Poe's stories from the mid-1800s to be the basis for modern crime fiction. I don't agree. This seems to indicate a serious lack of understanding even today, because the roots of crime fiction go back much farther. Read the classic Greek dramas! What are they about? People and society tangled up in hostilities which lead to violence, crime, and punishment. And there is also an element of crime writing mirrored in the works of Shakespeare. Of course there aren't any police, but there are investigations, analyses, and attempts to understand who and what lie behind certain brutal crimes. We are continuing traditions, whether we're conscious of doing so or not.

In many ways Roseanna is an incredibly fascinating book. I don't intend to discuss the plot or the resolution of the crime, but let me say that it's probably one of the first crime novels in which time clearly plays a major role. There are long periods during which nothing happens, when the investigation into who murdered Roseanna and threw her into the Göta Canal seems to be standing still; then it may move a few centimetres before coming to a halt again. It's quite clear that for Martin Beck and his colleagues, the passage of time is both frustrating and a necessary evil. Homicide investigators who have no patience lack a key tool. It takes six months before the crime is solved. By then we, as readers, know that it could just as well have taken five years, but the police would not have given up. The book describes the fundamental virtue of the police: patience.

I haven't counted how many times Martin Beck feels sick in Roseanna, but it happens a lot. He can't eat breakfast because he doesn't feel good. Cigarettes and train rides make him sick. His personal life also makes him ill. In Roseanna the homicide investigators emerge as ordinary human beings. There is nothing at all heroic about them. They do their job, and they get sick. I no longer remember how I reacted forty years ago, but I think it was a revelation to see such real people as police officers in Roseanna.

And the book still holds up today. It's lively, stylistically taut, and the unfolding of the story is skilfully planned.

Of course it's a modern classic. It was the first one in the series of ten books that Maj Sjöwall and Per Wahlöö had planned. And even with their very first book, they hit the mark.

Henning Mankell