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The Girl Who Kicked the Hornet's Nest (Millennium Trilogy Series #3) [NOOK Book]
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This novel not only puts the cap on the most eagerly read trilogy in years; the sequel to The Girl Who Played With Fire marks the completion of its Swedish author's career: Stieg Larsson died at the age of fifty in 2004. The Girl Who Kicked the Hornet's Nest is, however, too exciting and too adept to be read simply as a major author's memorial. From its onset, with "avenging angel" protagonist Lisbeth Salander lying in intensive care, this fiction pulses forward. One British critic called it "intricately plotted, lavishly detailed but written with a breakneck pace and verve...a tantalizing double finale—first idyllic, then frenetic."
From Sarah Weinman's "THE CRIMINALIST" column on The Barnes & Noble Review
By now, the narrative of Stieg Larsson is well-established to the point of near-myth. So it goes with a bona fide cultural phenomenon whose creator did not live to see the truly global success of the Millennium Trilogy. The surrounding legal drama between Larsson's longtime partner and family owing to his lack of a will, the excellent movie adaptation of The Girl With the Dragon Tattoo, the glut of articles about the Nordic crime boom, and the new and forthcoming release of several biographies all underscore and obfuscate the bottom line: these three books resonate for millions of readers as few thrillers do. They -- like me -- are so hooked that the prospect of an end to the series produces low-to-mid-range frustration. To misquote Samuel Beckett, there can't be more. There must be more. There is no more.
The best way to explain this inevitable reaction is to start with the last hundred or so pages of The Girl Who Kicks the Hornet's Nest, which finally arrives on American soil. Lisbeth Salander, having endured all manner of violence, humiliation, suffering, and degradation with revenge-soaked stoicism for just over half of her twenty-seven years on earth, is on trial for trying to kill her father, the Russian defector and Swedish national security nightmare Alexander Zalachenko. Her solicitor is Annika Gianinni, a feminist crusader and sister to the trilogy's other main protagonist, Mikael Blomqvist. They face a cavalry of aging men desperate to hang on to their powerful positions and crush Salander's spirit through every conspiratorial means possible, from declarations of mental incapacitation to trumped-up murder charges that can't quite stick (so attempted murder will have to suffice.)
The outcome is obvious to the reader, because Larsson, throughout the series, has conformed to the mystery novel's chief structure: blinding chaos is restored to natural order, with some obligatory loose strands left to dangle for the next book. But what he has also done, brilliantly, is to use the chaos/order dichotomy as a means of mining more ancient archetypes revolving around catharsis. Salander is any mythical or larger-than-life character you want her to be, from Diana the Huntress to females of Amazonian glory to Boadicea to Pippi Longstocking to Mallory, Carol O'Connell's glorious sociopathic heroine. She's the Bad Girl because others say she is, but really her misfit ways and fluid sexuality simply are, free from societal norms and judgments.
So -- and I guess this counts as a spoiler -- Salander prevails. But we've known she would from the moment she first appeared in her former boss's office, slapping down the dossier she compiled on Blomqvist and blithely commenting that he must have been set up by the financier, Wennerström -- the villain eventually brought down through a mix of hackery and trickery by Salander and Blomqvist. But the breathtaking glory of those final sections of The Girl Who Kicked the Hornet's Nest is the systematic thoroughness of Salander's triumph.
Men will continue to hate women, and to box them in and shut them down; the rich will hoard their wealth and the poor will be trapped. But the events chronicled in those hundred pages, the culmination of the several hundred thousand words preceding, imagine a small but vital change to the game. If one elfin, multi-tattooed, take-no-prisoners, socially withdrawn young woman can beat the system -- definitively and with several blows struck in the name of some turbo-charged form of Girl Power -- surely millions of others facing more mundane but more devastating insults and injustices can also prevail?
But enough about the end. Some justice must be done on the book's entirety, after all, and why The Girl Who Kicked The Hornet's Nest caps the trilogy so well. First off is Larsson's knack for building, maintaining, and then explosively increasing the momentum even as he barrels through what could be some turgid expository dumps. Did we need to know every little bit of backstory on peripheral members of the so-called "Zalachenko Club" responsible for circumventing the constitution and screwing over Salander to a life under the government's thumb? No, but just when one might throw up one's hands, along comes a vital chess move through the byzantine plot that might come in handy later on. And like his colleague in blockbusters, Dan Brown, Larsson's enthusiasm for the information he spills out, be it on the annals of his country's darkest political crimes or the specs of the computer Salander works with, is infectious. Did you know how cool this is? he asks. We did not, but now we do -- and yeah, it is pretty cool.
That leads into the second point: the Millennium Trilogy is mecca for the twin nerdy pursuits of journalism and technology. Larsson idealized journalism too much and spent too little on getting the inner workings of computer hacking right, but the net effect in both cases is that the 2010's reality super-imposes itself on the 2003-2005 world depicted in the books. The effects of that juxtaposition are somewhat different. With respect to journalism, bloggers toiling at pennies per post if they are lucky after being downsized from cushier newspaper and magazine jobs look to Millennium (Blomqvist's baby) and SMP (where his partner Erika migrates to save a sinking ship) as the personification of the "good old days," when dogged investigation and commitment to quality, not page views, was rewarded most.
Technology is another story. Gadgets date quickly, and Salander's reliance on a Palm Tungsten 3T to communicate with Blomqvist in stealth while supposedly sequestered from the world in a hospital shoehorns the action to late 2004/early 2005. Would the plot have been poleaxed by the presence of a smartphone, or by the likelihood of incriminating videos ending up on YouTube with a single click? Perhaps, but with recent privacy-busting actions by the post-Larsson behemoth Facebook (or Google, hardly as formidable then as it is now) and surveillance-happy governments in all likely and unlikely corners, I reckon Larsson might have figured out additional ways around the plausibility problem -- or blithely ignored them altogether since truth trumps fiction for bizarreness.
Such considerations remind one that these books, with all their violence and modern accoutrements, are wonderfully old-fashioned. Salander spends the bulk of Hornet's Nest trapped in a hospital bed, in jail, or in a stifling room answering to so-called crimes or watching, impassively, as her lawyer annihilates former tormentors and exposes their own perversions. And yet she is still the most active investigator of the truth in the story, able to accomplish what experienced journalists or government officials cannot. Those key figures also must use their wits -- as well as some well-placed information here and there, illegally obtained or not -- and deduce the impossible truth of Salander's victimhood from more plausible but flat wrong suppositions of guilt. Blomqvist may get much more action than his forefather in crime, Sherlock Holmes, but the principles are much the same.
Finally, to quote Blomqvist, "when it comes down to it, this story is not primarily about spies and secret government agencies; it's about violence against women, and those who enable it." Sex, in other words, is the big red herring, and I think that's why Larsson had the license to stretch the boundaries a bit. Because it doesn't matter if Blomqvist has women constantly flocking to him (in Hornet's Nest the quite unnecessary amorous episodes feature the near-Olympian turned secret agent Monika Figuerola), or if his long-running relationship with the married Berger is the best depiction of polyamory in fiction I've read, or if Salander sleeps with both men and women. Sex is private, borne out of love or desire or other more complicated emotions. Violence, be it body blows or brutal rape, is a public problem to be aired out so as to eradicate it for good.
Such was Larsson's hope, anyway. He wouldn't have lived to see the end of violence against women even if he was still alive today with thirty more years to go. But the three finished novels he left behind attest to idealism on many fronts: that journalism was a social service, that technology was a positive force for good, and that violence was a scourge both could vanquish. We're so far away from these goals that to read about them in the form of three supremely entertaining thrillers is escapism and catharsis of the highest order. And each subsequent generation will get sucked into Larsson's world anew, ready to fight alongside Blomqvist and Salander.
1. Have you read the two previous novels in the trilogy, The Girl with the Dragon Tattoo and The Girl Who Played with Fire? Which of the three did you find the most compelling, and why?
2. What is the “hornet’s nest” of the title?
3. Each part of Hornet’s Nest begins with a brief history lesson about women warriors. What was Larsson trying to say? Is Salander a modern-day equivalent of these women? Is Berger?
4. What are some of the major themes of this novel? Of the trilogy?
5. How does Larsson’s background as an expert in right-wing extremist organizations inform this novel, and the trilogy as a whole?
6. How does Larsson’s background as an expert in right-wing extremist organizations inform this novel, and the trilogy as a whole?
7. After everything that happened in the first two novels, why does Salander still distrust Blomkvist? How would you describe their relationship?
8. On page 134, Clinton describes the Section: “What you have to understand is that the Section functions as the spearhead for the total defence of the nation. We’re Sweden’s last line of defence. Our job is to watch over the security of our country. Everything else is unimportant.” Aside from Clinton, who else believes this? Why are they so convinced?
9. Can you imagine a group like the Section operating in this country? Why, or why not?
10. On Berger’s first day at her new job, the departing editor in chief offers his theory about why she was hired (page 152). Do you agree with his assessment? How does this notion play out?
11. Armansky tells Blomkvist, “For once you’re not an objective reporter, but a participant in unfolding events. And as such, you need help. You’re not going to win on your own” (page 159). Why is this situation different from those in the previous two novels? How does becoming a participant change Blomkvist’s behavior? Does Blomkvist cross any ethical lines?
12. On page 168, Larsson writes about Salander, “She wondered what she thought of herself, and came to the realization that she felt mostly indifference towards her entire life.” What has made her feel this way? Do her feelings change by the end of the novel?
13. Again and again, men underestimate Salander because of her size. Why do they make these assumptions? How does she turn this into an advantage?
14. What is the significance of Borgsjö’s involvement with a company that uses child labor? How does this tie in to Larsson’s overall themes?
15. On page 295, Salander discovers a gruesome fact about Teleborian. “She should have dealt with Teleborian years ago. But she had repressed the memory of him. She had chosen to ignore his existence.” How does this jibe with Salander’s behavior in the present day? When did she decide to stop letting people get away with things?
16. Discuss the notion of revenge in this novel, and throughout the trilogy. Who, besides Salander, exacts revenge? What motivates them?
17. What role does Annika play in the novel? And Ekström?
18. On page 359, Salander reaches out to Berger and offers to help. Why?
19. What is the significance of the subplot about Berger’s stalker?
20. During his interview with She, Blomkvist agrees with the host’s suggestion that the Section’s behavior is akin to mental illness. Do you agree with that idea? How are accusations of mental illness wielded elsewhere in the trilogy?
21. “When it comes down to it, this story is not primarily about spies and secret government agencies; it’s about violence against women, and the men who enable it.” So says Blomkvist on page 514. What else is it about?
22. If she’s not in love with Miriam, why does Salander go to Paris?
23. When deciding what to do about Niedermann, Salander thinks of Harriet Vanger. Where do their stories diverge?
24. The very last sentence of the trilogy is, “She opened the door wide and let him into her life again.” How do you imagine things proceed from here for Salander? For Blomvkist?
If like me you could not put down the first two books by Steig Larsson "The Girl Who Kicked The Hornets' Nest" will not let you down. The author takes us through many harrowing and suspenseful moments, even a laugh out loud event and then in the end neatly ties together the future of our main characters. At many points in her life Lisbeth Salander appeared to be controlled by others however we can see she is very much in control and ready to fight back. Along with Lisbeth and Mikael Blomkvist, Erika Berger Millennium's editor and Mikael's sometime lover is the focus of much attention. For me Lisbeth our quirky and ORIGINAL heroine ranks up there with Martin Cruz Smiths Arkady Renko, Len Deighton's Bernard Samsom and Ian Rankin's John Rebus. The Girl Who Kicked The Hornets' Nest has Internet hackers who are heros and doctors who are villains, the book has it all. Trying very hard to read the book slowly and to savor it for as long as I could the plan yesterday was to read about 50 pages or so. Starting at about page 200 and then suddenly a few wonderfully enjoyable hours later page 601. Finished, done, happy but sad that it was over and there would be no more books from steig Larsson.
133 out of 139 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.I was anxiously awaiting the third book in this series but was disappointed. I thoroughly enjoyed the first two books. This third book just didn't flow as fast as the first two. It got bogged down on a lot of explanation about government issues etc. That, to me, took out the swiftness in the movement of the first two.....I had MAJOR problems with my Nook and how the book was transferred....from page 450 to the end there were many page mixups and words that were cut in half or only shown by the dots of their letters....a huge disappointment while trying to read about the most important trial....My Nook really failed me on this one......
40 out of 56 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.I very much enjoyed the first two books and was fortunate enough to have a sister who couldn't wait for the US edition of "The Girl Who Kicked the Hornets' Nest". She was kind enough to share her copy, and I just finished the book last night. My only regret is that Stieg Larsson is no longer with us to share more of his superb verse.
Of the much enjoyed trilogy, this book was the most difficult to put down. The complex plot development was so well put together that that the many characters involved, though many just briefly, were easily remembered.
I don't feel that it would be fair to readers to share any of the content of the book. Rather, if you enjoyed the first two books this one will not disappoint. This book, as well as its predecessors, I will be recommending for many years.
37 out of 41 people found this review helpful.
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Posted May 5, 2010
Well written thriller and page turner Remarkable since it was translated fom the Swedish. I would heartily reccomend it to any reader The author has developed a terrific plot that will keep you guessing to the very end
28 out of 29 people found this review helpful.
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Posted January 7, 2010
Perfect ending, to a perfect trilogy!
Must read if you read the two other books!
I have an english copy I am happy to give to the first one to ask!
28 out of 30 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.The first comment I have to make is that I'm in mourning knowing there will never be another amazing work from Stieg Larsson. The world has truly lost one of the best writers of the century.
The Girl Who Kicked The Hornet's Nest is the third in Steig's Millennium series following The Girl With The Dragon Tattoo and The Girl Who Played With Fire. And it's the best of the three by far. His storytelling is factual and very precise and you might think because the novel is almost 600 pages that in it you'll find it unnecessarily wordy, well you'd be wrong. The novel entails an enormous amount of information crucial to the telling of the tale. And what a tale it is, he gives you espionage, murder, gang bangers, cops, newspaper reporters, secret police and some of the cruelest villains ever to grace the pages of a novel. The plot is amazing in it's intricacy and the detail is awe-inspiring and the story is uniquely his. The characters include some old friends from his first two books and some new friends and new enemies, but don't fear that you won't know them well because Stieg has a way to intimate you with each and every one. His dialogue is flowing and yes sometimes the minutiae is mind boggling, but every line is important to the telling of the story.
If you haven't yet read this series, now is definitely the time. It's something you'll treasure and something you'll re-read. It will become a permanent part of your library and you'll find yourself talking about it with friends and lamenting the fact that his voice has been forever silenced. So get ready for the ride of your life and get ready for nail biting, edge of your seat, breathe holding excitement. Get ready to read the next to top the bestseller list. Get ready to be entertained like you never have before. Get ready to Kick the Hornet's Nest!
24 out of 25 people found this review helpful.
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Posted July 24, 2010
This is the slowest book I've read in years. The author sidetracks so often you lose track of the story. There are so many characters and locations that you need to keep a chart on the side to remember everything that is going on and where.
18 out of 25 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.i just finished the third book in the Millennium trilogy and i have to say it's one of the best series ever. the characters are amazing, the story line is great, and it's a perfect ending!
you will love it! please make sure to read the first two first
16 out of 16 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Computer hacker guru Lisbeth Salander remains under guard as she heals in an intensive care unit from the bullet she took to her heard (see The Girl Who Played with Fire) when her father Alexander Zalachenko shot her. The Stockholm police believe Lisbeth is the prime and only suspect in three recent murders.
At the same time that Lisbeth remains incarcerated, reporter Mikael Blomkvist continues his investigation into an incredible decades old cover-up involving Lisbeth's father, a Soviet intelligence defector who works for the Swedish security police as he has since he turned. Still separated, but this time not caused by their estrangement, Blomkvist and Salander talk on-line sharing information. However, another threat has surfaced that Lisbeth knows about, but not much else; Niedermann does not exist, yet is coming to kill his sire's other creation.
The third Millennium Trilogy thriller (see The Girl with the Dragon Tattoo) is a superb ending to a strong saga. Incredibly ultra fast-paced, readers expect another confrontation between father and daughter in a world in which pure evil lives but pure good is a fantasy. The late Stieg Larsson leaves behind a great legacy as all three entries are amongst the best in the last decade and as a whole the trilogy belongs on the shortlists for top miniseries.
Harriet Klausner
14 out of 15 people found this review helpful.
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Posted December 5, 2009
I was able to get my hands on the British edition which was published earlier this year, and I can assure you that this is a book worthy of pre-ordering. Larsson's cast of characters return (most of them) to finish the story he began with The Girl with the Dragon Tattoo. I loved the first two because of the characters and uniqueness of the plot - the third in the trilogy adds a sense of urgency that makes the book hard to put down. The only downside is that this is the last of Larsson's novels.
13 out of 14 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Lisbeth and Mikael haven't changed, they're just as imperfect as all the rest of us and, most of the characters from the previous books are back. There are allot of new characters as well but don't let that intimidate you because it works! And finally...Lisbeth doesn't have to deal with her problems alone. When Mr. Larsson passed away the world lost one of the best writers of crime thrillers I have seen in a long, long time. I like the European writers such as, Henning Mankell, Tana French and Mr. Larsson because they seem more....gritty and the characters are more "real", warts and all. I read it front to back in 1 day and I cried when it was over. Partly, because I knew I would never visit these characters again and partly because I would never have the pleasure of reading anything by Mr. Larsson again.
10 out of 10 people found this review helpful.
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Posted January 17, 2010
What a ride!
This book ... boiled down to felony simplistic terms ... turns on a secret plot to shut Lisbeth Salander up by duping a misguided, pretentious, pompous prosecutor into asking the courts to lock her up in an asylum.
Bastid! (smile)
It's seriously good, addictive, clever, satisfying and moral. It's what I hoped for -- a great finish to a great series.
If you're like me, you'll turn the last page in this trilogy with mixed feelings.
1) With a monumental sense of accomplishment (three books, 1,800-plus pages ... whew!)
2) With the feeling that you've just finished reading one of the quintessential works in contemporary crime fiction, written by a great, talented writer
3) With lots of sadness that Larsson died before he could enjoy his celebrity and that as readers we've seen all we're going to see of the girl with the dragon tattoo
There are so many reasons this trilogy shouldn't have worked ... it's too long, it's unnecessarily complex at times, and the "title character" isn't around for too much of the first book and is inconsequential for too much of the final book.
And yet it works ... bigtime ... largely because of Salander, the diminutive, dragon-tattooed, computer-hacking, nerves-of-steel victim of a colossal miscarriage of justice. Even when she's not on the page, she is ... the ripple-creating rock plunked into the middle of an otherwise calm lake.
She's fearless and uncompromising. She rocks, she resonates. She's real, if not being able too get her out of your head is what gives great fictional characters life.
In fact, this series-ending book is riddled with great characters ... starting with Mikael and Erica, of course, and including the Millennium crew, Mikael's amazing lawyer sister and his new likeable love interest cop, the police, the Sapo agents, Lisbeth's father and brother ... even her doctor.
I remember reading a line from a reviewer who described Larsson's trilogy as "grown-up books for grownup readers."
Exactly.
10 out of 11 people found this review helpful.
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Posted May 28, 2010
This is the final piece of a fantastic series, no doubt, but it's malformed in its Barnes & Noble eReader edition. True lovers of Larsson's prose know how he relies upon space breaks to signal changes in time and place during his action-packed work. In this terrible electronic format, you'll find none of those necessary breaks -- which is disrespectful not only to Larsson's good work, but to devoted readers.
Buyer, beware. (And if you do buy the book, please don't expect BN to respond to any problems you have with it. I'm still waiting).
9 out of 12 people found this review helpful.
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Posted February 7, 2010
I had my brother purchase this for me from London a few mos ago. I took my time reading it because I didn't want the trilogy to end. So sad that the author died before he enjoyed his success from these books
The book was great-thankfully lengthy so it lasted awhile. Definitely recommend.
9 out of 9 people found this review helpful.
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Posted February 22, 2010
I picked up book 3 (UK version - already released) because I couldn't wait to see what happened to Lisbeth after the cliffhanger ending of Girl Who Played With Fire. This book doesn't disappoint one bit - a true page-turner and intriguing social commentary.
8 out of 9 people found this review helpful.
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Posted August 9, 2010
One of the reviews stated all the loose ends were neatly wrapped up. I agree - but I don't feel like the author was reaching for ways and means to wrap up those ends. The whole series was stylish and original. I only wish Mr. Larsson was still here to entertain us further in the future.
7 out of 7 people found this review helpful.
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Posted March 3, 2010
Purchased the English version in Stockholm airport in November 2009 since I could wait no longer to read the final saga of Lizbeth and company. Great thriller, even from the hospital room. Excellent writing, a page-turner like the first two books, and sorry there will be no more. Now if we could just an English translation of the Swedish movies, I'd love to try those too.
7 out of 8 people found this review helpful.
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Posted February 23, 2010
Bought this book from the UK. This series is wonderful. It is such a shame that larrson died before his time. He could have produced many more great novels. The Mellinium series is one I just haven't been able to put down. It's a must read.
7 out of 8 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.This was the best thriller trilogy series I have ever had the pleasure of reading. Loved the style of writing and the suspense level through all three books. Such a shame we won't have any more from this author.
6 out of 6 people found this review helpful.
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Posted August 9, 2010
These 3 books are mesmerizing in their broad scope of activities and in-depth character development. Stieg Larsson intrigued us with the twists and turns of the relationship between the two main characters as well as a cast of minor (but no less important) players. He also provided the historical background and the contemporary scenes of Sweden. On top of that, the non-stop action and at times humorous dialogs made these books hard to put down. I would wake up at 4 AM to start reading before going to work and continue to read till midnight after returning home. This series is truly addicting.
6 out of 7 people found this review helpful.
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Overview
The stunning third and final novel in Stieg Larsson’s internationally best-selling trilogyLisbeth Salander—the heart of Larsson’s two previous novels—lies in critical condition, a bullet wound to her head, in the intensive care unit of a Swedish city hospital. She’s fighting for her life in more ways than one: if and when she recovers, she’ll be taken back to Stockholm to stand trial for three murders. With the help of her friend, journalist Mikael Blomkvist, she will not only have to prove her innocence, but also identify and denounce those in authority who have allowed the vulnerable, like herself, to suffer abuse and violence. And, on her own, she ...