"Crime stories are, as you know, one of the most popular forms of entertainment that exist. If you then try to have something to say... that I have, of course"
About this Quote
Larsson is doing a neat little two-step here: he flatters the reader with “as you know,” then immediately smuggles in a justification for ambition. Crime fiction is “popular,” yes, but he’s less interested in popularity than in access. The genre is a delivery system. It gets past the cultural bouncers because readers come for the puzzle, the dread, the catharsis. Once they’re inside, you can start moving furniture around: power, money, misogyny, institutional rot.
The sly shrug of “If you then try to have something to say…” is doing heavy work. It frames social critique as almost incidental, as if any responsible writer might accidentally end up political. That’s disarming. It preempts the eye-roll aimed at “message” books by presenting the message as a natural consequence of attention. And the trailing “that I have, of course” lands with dry confidence: not grandstanding, not apologizing, just quietly asserting that entertainment and argument aren’t enemies.
Context matters because Larsson wasn’t a literary tourist dabbling in darkness. He was a journalist and anti-extremist investigator in Sweden, steeped in the mechanics of how respectable societies launder violence and how women absorb the costs. In that light, the line reads like a manifesto for the Millennium series: use the most bingeable format available to talk about the things polite culture prefers to file away. The subtext is almost accusatory: if crime stories are where the audience is, why waste that attention on mere tricks?
The sly shrug of “If you then try to have something to say…” is doing heavy work. It frames social critique as almost incidental, as if any responsible writer might accidentally end up political. That’s disarming. It preempts the eye-roll aimed at “message” books by presenting the message as a natural consequence of attention. And the trailing “that I have, of course” lands with dry confidence: not grandstanding, not apologizing, just quietly asserting that entertainment and argument aren’t enemies.
Context matters because Larsson wasn’t a literary tourist dabbling in darkness. He was a journalist and anti-extremist investigator in Sweden, steeped in the mechanics of how respectable societies launder violence and how women absorb the costs. In that light, the line reads like a manifesto for the Millennium series: use the most bingeable format available to talk about the things polite culture prefers to file away. The subtext is almost accusatory: if crime stories are where the audience is, why waste that attention on mere tricks?
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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