9 of 9 people found the following review helpful
5.0 out of 5 stars
Cold Case, Oct 27 2010
By Gary Griffiths - Published on Amazon.com
Crime fiction is rarely more unconventional than Arnaldur Indridason's bleak tales of Reykjavik police detective Erlendur, a morose cop whose own life plays as tragic as the victims he seeks to avenge. "Hypothermia" is his sixth outing, and if not his best, it is arguably the most complex. It centers on the suicide of a young woman, depressed by the loss of her overly protective mother and still haunted by the drowning death of her father when she was still a child. While there is nothing at the scene to suggest foul play, and is suicide an unfortunate but logical conclusion to the troubled girl's life, Erlendur doggedly pursues an unofficial investigation into the death. Hints of the supernatural, life beyond death, and Erlendur's own ghosts play heavily in this cleverly convoluted yarn. In a seemingly aimless meandering, Erlendur bounces with near-ADD lack of concentration from the suicide to decades-old missing persons' cases "cold" by even Icelandic standards.
As fans of Indridason have come to expect, "Hypothermia" is dark and moody - a new Scandinavian shade of noir - but intelligent, carefully crafted, and poignant. In some ways, Erlendur is an Icelandic "Columbo" - suitably rumpled and disarming - though missing Peter Faulk's humor and swagger. A man who realizes the mistakes he's made in life, and while regretful, is content to wallow in stoic fatalism. This is high drama, beautifully written, well crafted crime fiction. So give Stieg Larsson's "girl" a night off and get dark with Arnaldur Indridason.
4 of 4 people found the following review helpful
3.0 out of 5 stars
More confidence but less suspense than The Jar, May 28 2011
By M. Drudzinski - Published on Amazon.com
This is the second Indridason novel I've read (after The Jar). I had heard really good things about this one, so I chose it next over some of the others in the series.
The writing is much more confident and fluid than in The Jar. However, while the novel read well, the mystery was transparent. I pretty much figured out the resolution about 1/3 of the way in, and that was disappointing.
I will say, though, that I kept with Hypothermia, because despite its weaknesses, the novel remained compelling. This is due to Erlendur, a character I have grown to appreciate over two novels. His world-weariness, broken family life and compulsion to ceaselessly unearth foul play where most police see none, make for an interesting combination. Erlendur would rather be left alone in his apartment -- he doesn't even seem all that interested in his current girlfriend -- but his empathy forces him to abandon his hermetic inclinations to seek justice for those who were robbed of it in death.
Indridason continues to do a masterful job with investigator Erlendur. I just wish he had done a better job crafting the mystery.
1 of 1 people found the following review helpful
4.0 out of 5 stars
A fine series gets even better, Feb 26 2012
By J. J. Gass - Published on Amazon.com
Most readers, I assume, will come to this book having read earlier installments in the Erlendur series (if not, I suggest you go back to the beginning and start there, rather than jumping in at this stage in Erlendur's evolution). If you have read the previous books, you will not be surprised by the tone and characterization of Hypothermia. I think, however, that Arnaldur has honed his approach: if you liked the previous books, you'll like this one more.
Erlendur is becoming more self-aware, and his reflections and ideas dominate this book more than its predecessors. Marion Briem is gone, and Sigurdur Óli and Elínborg hardly figure. As regards Icelandic society, the book is, if it's possible, even more bleak than the others. This is balanced somewhat by a thaw in relations between Erlendur and his children and the beginnings of a possibility that he may finally accept the death of his brother Bergur.
The plot is as good as usual. Arnaldur is good at the misdirection and false starts that are often essential to a good detective story, and those skills are in evidence here. Flashbacks, told from the victim's point of view, are effective in helping the reader empathize with the victim and comprehend a rather implausible sequence of events. As in several of the other books, a crime or accident from the distant past plays an important role, and there is a subplot involving old missing-persons cases, both of which (as usual) provide parallels to Erlendur's inability to put the Bergur tragedy behind him.
If you liked the previous books, read this one. It won't disappoint.