rel="nofollow" href="#litres_trial_promo">Chapter 21
Let me be completely honest from the outset. When I was invited to write the introduction to The Fire Engine that Disappeared, I somewhat guiltily realized that I had never read a single word written by Maj Sjöwall and Per Wahlöö. I had frequently read articles about the famous pair, and learnt from many knowledgeable critics that they were among the very finest writers of modern crime fiction. But such literature amounted to little more than books about the books, and not the books themselves; and with me, as with many others, the epithet ‘famous’ more often than not signifies ‘unread’.
Why was this?
I really ought to have been more kindly disposed towards the Swedes since they had been the very first nation to translate my own books; and from quite early on I had attended crime conferences in Stockholm and in Göteborg, where my most abiding memory is of the high price of alcohol. But the names of our two authors did not trip off the tongue with the easy familiarity of other foreign crime-writers, like Simenon or Dürrenmatt, and I got to read neither of them. A bigger factor, I am sure, was the view I’ve held for most of my life that the best definition of poetry is ‘what gets lost in translation’; and I have usually assumed (maybe correctly?) that ‘style’ in prose-writing also falls victim to the same potential malaise. And talking of translation and pronunciation, the reader of this novel must occasionally—surely!—feel a little intimidated by such topographical polysyllables as, for example, ‘Karlviksgatan is a street running from Norr Mälarstrand to Hantverkargatan, quite near Fridhemsplan’ (ch. 27). All a bit off-putting, isn’t it? But I took heart from the Sunday Telegraph quote for the blurb: ‘If you haven’t read Sjöwall and Wahlöö, start now.’ So I started, although with considerable clutter in my mind about what to expect.
My first preconception was that this husband-and-wife team, with a political stance well to the left, had become rather too bitterly critical in the sixties and seventies of what they saw as the betrayal of many of their Socialist ideas and ideals. My second was that their modus scribendi was deeply influenced by the 87th Precinct books of Ed McBain, with real-life crime found predominantly in cities rather than in sleepy English villages. Third, that during these same years, Sweden had become so liberal-minded about sex and sexuality that any sensitive soul might well have to be prepared for (or to hope for) a few paragraphs of explicit titillation.
Unexpectedly, it was none of these factors that struck me first. What struck me was the gently underplayed humour of the writing. Let me give some examples. An apartment building in Stockholm blows up spectacularly in the opening pages and is burnt to the ground. Melander is one of the investigating team, and the question of the cause of the fire was his particular headache, ‘apart from the fact that he had never had a headache’. Another of the team, and the hero of the rescue attempts, Gunvald Larsson, is being treated in hospital and being dressed in regulation clothing when we find him looking down at his feet ‘inserted into a pair of black, wooden-soled shoes, which either had been made for Goliath, or had been intended as a sign to hang outside some clog-maker’s’. One further example? ‘It took Martin Beck less than thirty seconds to open the door, which was considered a long time, as he had already got the key from the real-estate agent.’ All quite delightful.
Clearly then we are not going to be confronted by a couple of po-faced Marxists, and the first of my earlier preconceptions is in need of modification. What then am I now to say about any signs of disillusionment with those womb-to-tomb aspirations of what is unsympathetically termed the ‘nanny’ state? I found little or nothing in the novel that could be called tub-thumping propaganda. Instead, I came across a few rather muted and humane reflections on those laudable intentions which somehow had failed to materialize. As early as the first chapter, for example, Martin Beck, on a visit to his mother in an old people’s home, ‘walked past one of the dreary small sitting rooms in which he had never seen anyone sitting, and continued along the gloomy corridor’. All very gentle. Yet we do come across some bitter social commentary, albeit not given any third-person authorial imprimatur, but spoken by the discomfited mother of one of the villains: ‘It’s an accepted fact now that our reform schools and institutions act as a sort of introduction to drug-taking and crime. What you call treatment isn’t worth a cent.’ Pretty polemical!
My second preconception proved fully corroborated. The influence of the venerable McBain abounds, and this novel is a ‘police procedural’ from the top drawer. What a curious team of detectives we meet, each invested with a sharp individuality, each contributing, well, at least something to the novel’s dramatic dénouement; and, above all, every one of them is interesting as a human being, with their varied responsibilities, and their equally varied wives. Melander, for example, not only possesses a phenomenal memory, he is also a pipe-smoking, unflappable fellow, who has obviously followed a life-long philosophy of never turning round when being shouted at from behind. Martin Beck, who gives his name to the series, plays a comparatively minor role, rather like a cricket-captain who, as the sports pages would report, is having a quiet game. But for me, the most fascinating member of the team is Kollberg, a fat, sedentary figure, to whom I took an instant dislike. He takes much of the limelight, and proves to be a man of strong views and somewhat irrational prejudices, thoroughly detesting one of his colleagues, and steadily digging his own grave with a knife and fork. Yet I finished the book admiring him; and it is the mark of exceptional writing for any author(s) not only to characterize a particular protagonist but to re-characterize him. A good deal of interest, too, settles around a trio of comparatively junior members of the team, who exhibit amusing degrees of inexperience and incompetence during this complex and baffling story. Indeed, one of them is sent on an assignment ‘that might possibly strengthen his leg muscles but was otherwise quite useless’. Yet each of the three plays his part in the unfolding of the story.
What of my third preconception? Sex plays only a very small part in the novel; and what sex we do find is handled with an almost serene simplicity. The one brief (extraordinarily brief!) incident that I remember with great pleasure occurs when a police contact in Denmark is interviewing, and rather brusquely interviewing, a sculptor in her Copenhagen studio:
‘Do you want to sleep with me?’ she said suddenly.
‘Yes,’
