Roseanna - Maj Sjowall and Per Wahloo

They dredge Roseanna from the lake, naked and dead. The local police investigate, the murder squad from Stockholm become involved, and when they realise the dead woman is American, they get in touch with Detective Kafka stateside.

This was Sjowall and Wahloo's first collaboration, the first of their ten Martin Beck novels. In a sense it was their homage to Ed McBain, who to a great extent created the police procedural in the States; but Beck is really a unique creation, the Swedish precursor of the likes of Inspector Wexford, the ultra-realistic police procedural, the grind as well as the glamour.

It is the best of the Beck books I have read so far, mainly because it takes so many risks. I suppose they reasoned that Roseanna had to be a hit otherwise the other nine would never happen, therefore it had to stand out from the crowd. Which it certainly does. I have always been a fan of the interview typescript technique which features heavily here. But what really caught me was the progressive revelation of Roseanna as a healthy young woman living (and of course dying) on the eve of the Sixties Sexual Revolution. Indeed she dies because she is sexually liberated.

Ed McBain seems realistic because he is so fantastically stylised in his writing. Sjowall and Wahloo, in translation at any rate, are genuinely downbeat and quotidian. Their mastery is in the plotting and the gradual peeling back of the layers until the truth is revealed. As Henning Mankell puts it in his introduction to this 2006 reissue: "The book describes the fundamental virtue of the police: patience."

Nobody does it better than "the godparents of Scandinavian crime fiction" (Jo Nesbo). It may well be that Sjowall and Wahloo never did it better than in Roseanna.

One Step Behind - Henning Mankell

Considering his eminence and key role - second only, perhaps, to Stieg Larsson -  in the popularisation of Nordic crime thrillers, Mankell is oddly under-published in Britain. Consider, for example, the dreary cover and offensive bodytext typeface in this edition from Vintage. Those issues notwithstanding, One Step Behind is a reminder of just how great Mankell's Wallander novels are and how much he contributed to the genre.

The highly fallible lead detective - Wallander himself doesn't think he's fit to lead the investigation; the dense character backstories; the empathetic psychology of the killer, no matter how evil his or her actions... All of these Mankell  either brought to the table or developed from the great pioneers Sjowall and Wahloo, co-creators of the peerless Martin Beck.

Here, it seems, we have two mysteries - who killed and then resurrected a bunch of young party people, and the murder of Ystad detective Svedberg. It will come as no surprise that the cases turn out to be linked, but the perpetrator is very unusual if not unique. I certainly have never come across a fictional serial killer with this particular quirk - and I would have noticed, given that it is one I have thought about using in my own writing. It's a measure of how skilful Mankell's writing is that I didn't guess the twist until the second or third heavy hint.

A masterpiece of its type. Henning Mankell and Kurt Wallander at their mutual best.

Murder at the Savoy - Maj Sjowahl and Per Wahloo

The sixth of the Martin Beck novels, Murder at the Savoy starts with precisely that: a man walks into the Savoy hotel and shoots a famous business tycoon in the head.  It happens in Malmo but because the victim is so well known Beck is drafted in from Stockholm.

The novel dates from 1970, so obviously things have moved on with the likes of Mankell and Nesbo, but Beck is where it all started for Nordic Noir.  Sjowahl and Wahloo created the template which makes Scandinavian crime (ironically Danish rather than Swedish or Norwegian) such an international sensation on TV.  That's not the plotting or the filming or even the acting - it's the social conscience, which is present in plenty in Murder at the Savoy.  The victim, of course, is an entrepreneur and therefore the enemy of the welfare state.  The murderer is the welfare state striking back.  That does it for me every time.

A classic of the genre.

The Abominable Man - Sjowall and Wahloo

Maj Sjowall (b. 1935) and Per Wahloo (1926-1975) are the Adam and Eve of Scandanavian crime fiction.  Without them, and their breakthrough in the Anglophone world, The Laughing Policeman (1971), there may not have been any Larssen or Nesbo, both of whom share some of S&W's tropes and preoccupations.

Sjowall and Wahloo are Marxists, unabashed about commenting on the society that forms the backdrop of their fiction.  Cops can be, and often are, corrupt.  None of this was evident in British and American crime fiction of the early Sixties when S&W began.

The Abominable Man, the seventh of the ten Martin Beck novels, is all about corruption - or rather, one corrupt Chief Inspector and the superiors, peers and subordinates who are all complicit in covering up his brutality.  There is a particularly memorable sequence in which Beck's team goes through a sample of the complaints brushed under the carpet by the Justice Ombudsman.  Only one honest patrolman persists in reporting Stig Nyman - and where does that get him?

The action is compressed into a single extended night, which alone generates enough tension to keep the reader hooked.  50 of 185 pages concern the final showdown, at the end of which we don't know if Martin Beck lives or dies.  Just 13 lines after the bad guy is downed the novel simply stops.  Such confidence from the writers - and that is not the only technique of theirs which remains cutting edge to this day.

In summary, short, sharp and downright brilliant.