The Girl Who Kicked the Hornet's Nest (Millenium Trilogy , 3)
Stieg Larsson, 2007 (Eng. trans., 2009)
Random House
576 pp.
ISBN-13: 9780307454560
Summary
The third and final novel in Stieg Larsson’s internationally best-selling Millennium trilogy.
Lisbeth 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 will plot revenge—against the man who tried to kill her, and the corrupt government institutions that very nearly destroyed her life. (From the publisher.)
Larsson's Millennium trilogy includes The Girl With the Dragon Tattoo, The Girl Who Played with Fire, and The Girl Who Kicked the Hornet's Nest.
Author Bio
• Birth—August 15, 1954
• Where—Vasterbotton, Sweden
• Death—November 9, 2004
• Where—Stockholm Sweden
Born in Västerbotten in northern Sweden in 1954, Stieg Larsson had a professional career that bears a striking resemblance to that of the protagonist of his Millennium thrillers, Mikael Blomkvist. Beginning as a graphic designer for the news agency Tidningarnas Telegrambyra (TT), Larsson went on to become the chief editor of Expo, the magazine published by the Expo Foundation, an organization he helped establish in 1995 to combat racism and the Swedish right-wing extremist movement.
Inspired by an old joke shared with a colleague at TT, Larsson admitted he started writing the Millennium novels—The Girl With The Dragon Tattoo, The Girl Who Played With Fire, and The Girl Who Kicked the Hornet's Nest—just for fun. Describing them as "pension insurance," Larsson said he enjoyed the process of fiction writing so much that he didn't make contact with a publisher until he had completed the first two and had a third under way.
Though Larsson died of a heart attack in 2004 and never saw any of his books in print, all three were subsequently published in Scandinavia and continental Europe to great acclaim. He left behind the unfinished manuscript for a fourth book in the series. (From Barnes & Noble.)
Book Reviews
A thoroughly gripping read that shows off the maturation of the author's storytelling talents…Larsson effortlessly constructs an immensely complicated story line that owes less to the Silence of the Lambs horror genre than to something by John le Carre.... Cutting nimbly from one story line to another, Larsson does an expert job of pumping up suspense while credibly evoking the disparate worlds his characters inhabit.
Michiko Kakutani - New York Times
Salander is a magnificent creation: a feminist avenging angel.... I cannot think of another modern writer who so successfully turns his politics away from a preachy manifesto and into a dynamic narrative device. Larsson's hatred of injustice will drive readers across the world through a three-volume novel and leave them regretting the final page; and regretting, even more, the early death of a mastery storyteller just as he was entering his prime.
Observer (UK)
[These are] extraordinary novels [with] astonishing impact... breakneck plotting, sympathetic characterization and the kind of startling denouements that occur more frequently than is conventionally considered possible. There is a comparison with that other great work of contemporary entertainment, The Wire, in the rage and clarity with which injustice becomes the driver of a novel way of looking at a society. Be warned: the trilogy...is seriously addictive.
Guardian (UK)
Fans will not be disappointed: this is another roller-coaster ride that keeps you reading far too late into the night. Intricate but flawlessly plotted, it has complex characters as well as a satisfying, clear moral thrust.
Evening Standard (UK)
The exhilarating conclusion to bestseller Larsson's Millennium trilogy (after The Girl Who Played with Fire) finds Lisbeth Salander, the brilliant computer hacker who was shot in the head in the final pages of Fire, alive, though still the prime suspect in three murders in Stockholm. While she convalesces under armed guard, journalist Mikael Blomkvist works to unravel the decades-old coverup surrounding the man who shot Salander: her father, Alexander Zalachenko, a Soviet intelligence defector and longtime secret asset to Säpo, Sweden's security police. Estranged throughout The Girl Who Played with Fire, Blomkvist and Salander communicate primarily online, but their lack of physical interaction in no way diminishes the intensity of their unconventional relationship. Though Larsson (1954–2004) tends toward narrative excess, his was an undeniably powerful voice in crime fiction that will be sorely missed.
Publishers Weekly
[Larsson] is remarkably agile at keeping multiple balls in the air. But it wouldn’t really matter if he weren’t a skilled craftsman because Salander is such a bravura heroine—steel will and piercing intelligence veiling a heartbreaking vulnerability—that we’d willingly follow her through any bramble bush of a plot.... There are few characters as formidable as Lisbeth Salander in contemporary fiction of any kind. She will be sorely missed. —Bill Ot
Booklist
Lisbeth Salander is in big trouble. Again. In the third installment of the late journalist Larsson's unpretty expose of all that is rotten in Sweden, Lisbeth meets her father, who, we learned a couple of books back, is not just her sire but also her mortal enemy. Pater shares her sentiments, so much so that, at the beginning of this trilogy-closer—though there's talk that a fourth Salander novel has been found on Larsson's laptop and is being squabbled over in lawyers' offices—he's apparently tried to exterminate the fruit of his loins. Being the resourceful lass that she is, Lisbeth rises from the grave to take her vengeance. Or, as longtime Larsson hero/alter ego Mikael Blomkvist tells us, she somehow managed to "get back to the farm and swung an axe into Zalachenko's skull." Adds Blomkvist, helpfully, "She can be a moody bitch." So she can, but that's the manner of avenging angels, and Lisbeth has lots of avenging to do. She also has lots of help. Blomkvist, a little mystified as always, runs on the sidelines along with girlfriend and publisher Erika Berger, while some favorite figures from the first installment, The Girl with the Dragon Tattoo, return to do their bit, among them fellow uberhacker Plague, who still hasn't taken a shower nearly 1,000 pages later. There are some new or hitherto minor players along for the ride, including another Zalachenko creation, a German very-bad-guy named Niedermann, who covers his tracks pretty well. Writes Larsson, "The problem with Niedermann was that he had no friends, no girlfriend and no listed cell phone, and he had never been in prison," which makes life difficult even for a master tracker-downer such as Lisbeth—whom, unhappily, Niedermann is trying to do in as well. It's a delicious mayhem, where no man is quite good and no rich person has the slightest chance of entering the kingdom of heaven. Oh, there are lots of very bad bikers, too. Patented Larsson, meaning fast-paced enough to make those Jason Bourne films seem like Regency dramas.
Kirkus Reviews
Discussion Questions
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. Many characters in Larsson’s trilogy have some good and some bad in them. Can you name a few? What makes them different from the clear heroes or villains in the books?
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?
(Questions issued by publisher.)
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