Das Interview mit Christoffer Carlsson – dem schwedischen Autor, der nun auch in Deutschland in den Charts auf dem Weg nach oben ist

Mai 20, 15 • Autoren Im FokusNo CommentsRead More »

Das Bücher mitunter ein hohes Suchtpotential bergen gehört zum Allgemeinwissen. Der bisher erfolgreiche Autor Christoffer Carlsson, seines Zeichens studierter Kriminologe, hat ein weiteres chartverdächtiges nun auch in Deutschland im Hause C.Bertelsmann herausgebracht, das gefährliches Suchtpotential in sich birgt und vor allem für Fans der nordischen, so wie der angelsächsischen Krimitradition sehr fesselnd ist. Für uns alle mal ein guter Grund mit dem Menschen Christoffer zu sprechen und ein Interview zu machen.

Über das Buch “Der Turm der toten Seelen”

Düster, beklemmend, gnadenlos spannend.

Leo Junker, Anfang 30, ist als Polizist vorübergehend vom Dienst suspendiert, nachdem er versehentlich einen Kollegen erschossen hat. Körperlich und psychisch angeschlagen, ist er voller Sorge um seine Zukunft. Als in seinem Wohnhaus ein Mord geschieht, beginnt Leo – unerlaubt – zu ermitteln. Denn ein Detail an der Ermordeten erinnert ihn auf erschreckende Weise an seine eigene gewalttätige Jugend und an das brutale Ende seiner ersten Liebe. Leo weiß, dass ihm jetzt nur einer weiterhelfen kann: John Grimberg, früher sein bester Freund, der später jedoch zu seinem abgrundtiefen Feind wurde und nur auf eine Gelegenheit wartet, sich an ihm zu rächen.

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Das Interview mit Christoffer Carlsson

© Anna-Lena Ahlström

© Anna-Lena Ahlström How and when the idea was born to write the book “Der Turm der toten Seelen”/“Den osynlige mannen från Salem”?

Christoffer Carlsson: The idea really came from the work I was doing in criminology at the time. I was hired to write a PhD, based on life history interviews with a sample of juvenile delinquents born in Stockholm during the 1940s and 50s. As I began doing interviews with then in 2010, they were around 60 and had lived long and interesting lives. My interest was the field we call continuity and change in crime, that is, why did some of these juvenile offenders cease to do crime whereas others continued to offend well beyond the transition to adulthood? In other words, my interest was why some fare better than do others. As it turned out, some of the people who we – based on childhood risk factors – predicted would do bad, they did bad. But many of those we thought would do bad, actually turned out to live quite good loves. And, reversely, several of the people who we predicted would do good, actually lived quite crime-intensive lives. So, doing that work, it just got me thinking about what shapes a person’s life and, of course, the answer to that is very basic: it’s the relations we have to people and places, our location in the various dimensions of our social structure, and it is our own dreams and fears and aspirations.

I’m not claiming that I have written a criminological, fictionalized account of real lives or anything like that. I just wanted to write a crime drama based on the idea of what shapes people’s lives, and it was from it that the idea of the Leo Junker series grew. Why are you just writing thrillers?

Christoffer Carlsson: I was born and bred on crime fiction. I’ve always loved it. The beauty in crime fiction is that it, when it’s done good, is much more than just a story about a crime. You know, much crime is the result of very basic dimensions of human existence. Love, friendship, greed, sex, guilt, betrayal, and various forms of drug use – all these things are very human things. But when they are taken to their extreme, the end result is sometimes crime. So when crime fiction is at its very best, it shows us what can happen when the most human elements in us go wrong. It tells us, in a sense, who we are and what we are capable of. I’m, by the way, not claiming that we are all equally prone to do murder or armed robberies; clearly, we’re not. But crime fiction can make us understand what is actually going on when such things do happen. What is your approach before ever the first written word of the newly begun manuscript is visible?

Christoffer Carlsson: I make myself some coffee and start with the idea, jot it down in my notebook. “A story about a girl who has to find her lost brother, before the police does”, for example (it’s rarely more complex than that, at this stage). Where such (sometimes really strange) ideas comes from, I don’t know. At any rate, then I imagine the beginning and write the first scene, testing the mood of the piece and the language and rhythm of the narrator, the way s/he thinks, speaks, writes, and acts. I don’t do big chapter-by-chapter outlines or anything like that, for several reasons. Firstly, people who do such outlines typically end up diverging from it anyway, so it tends to be a waste of time – it seems to be more about control than about the actual composing of a book. Secondly, I don’t do them because I can’t tell whether or not the idea will work until I actually start writing. So that’s what I do as soon as I can. And at this stage it’s really fragile, in a sense, because whether or not it will develop into a full story depends on an intuitive, kind of instinctive process that I guess goes on inside me while I write, like “does this excite me? does this feel good? How is your ordinary daily routine of writing a book?

Christoffer Carlsson: I used to have one, but I don’t really, anymore (aside from what I just said). The way my life is right now, I need to be able to write however and whenever possible. What writer would like to meet and what would you ask?

Christoffer Carlsson: Oh man, that’s a tough one. I actually can’t think of an answer. But okay, so, I’ll say James Joyce and my question would be: “What the fuck was Finnegan’s Wake really about?” What are you reading right now?

Christoffer Carlsson: Right now I’m reading the latest – and possibly last – Liza Marklund book. It’s about to come out in Sweden in about a month and I’ve managed to get my hands on an advance copy. It’s definitely the last Annika Bengtzon book, anyway, and as far as I know, Liza has no plans on writing anything more in the future. So it’s … special. And the book is damn good. Is there something that is difficult to write, or something that you would not write?

Christoffer Carlsson: I would never try to write poetry, I’m not clever enough for that. Actually, when I think about it, I don’t think I’m good enough to write anything but crime fiction. This does not mean that crime fiction is easy to write – on the contrary, good crime fiction is probably one of the most difficult things you can attempt to write – but, like I said, I was born and bred on crime fiction. It’s what I spent my time reading, and writing, so that’s what I became good at. That’s the way you hone and develop yours skills; by learning from your masters and practicing your craft.


Weiterführende Infos Literary Agency of Christoffer Carlsson >> Mehr zum Autor beim deutschen Verlag C.Bertelsmann >>
Autor: cm |


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