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One of The Times' "Best Crime Novels by Women since 2000"
"Rebecka Martinsson: the new Scandi-noir heroine to rival Saga Noren and Sarah Lund" iNews
"In a television world now awash in female coppers, there aren't many as interesting and human as Rebecka" Wall Street Journal
The frozen body of a woman is found in a fishing ark on the ice near Torneträsk in northern Sweden. She has been brutally tortured, but the killing blow was clumsy, almost amateur.
The body is quickly identified, raising hopes of an open-and-shut solution. But when a six-month-old suicide is disinterred,
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Produktbeschreibung
One of The Times' "Best Crime Novels by Women since 2000"

"Rebecka Martinsson: the new Scandi-noir heroine to rival Saga Noren and Sarah Lund" iNews

"In a television world now awash in female coppers, there aren't many as interesting and human as Rebecka" Wall Street Journal

The frozen body of a woman is found in a fishing ark on the ice near Torneträsk in northern Sweden. She has been brutally tortured, but the killing blow was clumsy, almost amateur.

The body is quickly identified, raising hopes of an open-and-shut solution. But when a six-month-old suicide is disinterred, Rebecka Martinsson and Anna-Maria Mella find themselves investigating shocking corruption at the heart of one of Sweden's most successful mining companies. One that has powerful enemies of its own.
Autorenporträt
Åsa Larsson was born and grew up in Kiruna, Sweden. She is a qualified lawyer and made her debut in 2003 with The Savage Altar, which was awarded the Swedish Crime Writers' Association prize for best debut novel. Its sequel, The Blood Spilt, was chosen as Best Swedish Crime Novel of 2004, as was The Second Deadly Sin in 2011. Her novels were adapted for television and shown on More 4.

The sixth and final book in the Rebecka Martinsson series, The Sins of Our Fathers, was named Best Swedish Crime Novel of the Year, and is the winner of the Adlibris Suspense Award, the Storytel Award.
Rezensionen
Åsa Larsson's genius is in telling the story from multiple viewpoints, so cleverly that you can't see the dots connecting until they hit you right in the face at the end The Times