Had I not read Cecilia Ekbäck’s previous novels, and had I not known what incredible stories she can come up with, I would have enjoyed this book a lot more than I eventually did.
Once again set in Sweden, with the sublime mountain Blackåsen framing the narrative canvas, the focal point of the book is the solving of a murder. In the early months of 1943 and the midst of the war, Britta Hallberg is found dead, obviously tortured before the shot that sent the bullet in her head, in the building of the Historical Society of the Uppsala University. Laura Dahlgren, her best friend, along with Jens Regnell, who believes that the Minister of Foreign Affairs, whom he is secretary to, is covering up illegal activities—most likely against the government—, decide to investigate the homicide despite the elements against them and soon discover that what Britta was involved in is much larger than they’d first assumed. At the same time the Sami people of the Blackåsen mountain, now a mine that supplies the Reich with iron, live in fear; the Swedish Institute of Racial Biology is researching their children, while often settlers among them disappear leaving no traces behind, and are thought to be devoured by the spirit of the mountain. Taneli, a ten-year-old boy whose sister is gone, and mine director Sanders, who’s almost completely stripped off of his authority because of forces he cannot comprehend, attempt to fight the injustice and uncover secrets that could put the country in danger.
Although the story is promising, I was disappointed. Laura’s part of the narrative, which often includes glimpses of her past that put together the puzzle pieces of her life as a university student, significantly lacks originality. The plotline that concerns her strongly resembles Donna Tartt’s “The Secret History”, to such an extent that I was easily able to guess exactly what would happen with her and the circle of talented students she herself belonged to that exclusively gathered around their charismatic professor, who personally chose each of them for his elitist research group. Jens’ point of view was more skillfully written, and I loved the politics involved (what an astonishing research Cecilia Ekbäck conducted to put her story together!), as was Taneli’s and director Sanders’. I was still left with the impression, however, that most of the characters felt somewhat numb and there was this strange flatness about them. Apart from Jens, Taneli and Sanders the character development of the rest was insignificant to non-existent, and I didn’t feel particularly connected to anyone but Matti—responsible for which is perhaps this instinctive, immediate fancy that I take on the Finnish because of my Erasmus+ exchange in Helsinki. The big secret everyone is after was surely a great twist but didn’t explode to take me by surprise, and the closing of the book didn’t excite me either.
I can’t tell what I was expecting when I first got my hands on this book, but I was overall disappointed. I missed the magic of the previous books in the series, this touch of magical realism that made them so special, the well-built characters and the more elaborate take on the culture of the Lapps. The research on the social and political history of the Nordic countries was immense, and the result when discussed was fascinating. I loved how the literature used is listed at the end of the book. And, well… All in all, the Historians is a perfectly decent novel, and I would definitely recommend it; it’s just that it didn’t meet my expectations of the writer, but it definitely worths a shot!