Introduction
Detective stories have been very popular worldwide. Such genre, also recognized as crime fiction in the field of literature, has attained a very large readership and devotees. Likewise, a number of significant writers have been revered by different sets of people because of their articulation in this literary genre that provokes the readers’ mind to explore mysterious situations as they slowly unfold. What sets detective stories apart from other forms of fictions is the fact that it is a puzzle which features mysterious situation created by a commissioned crime that requires the search for a solution. Given the fact that the occurring crimes in the stories were usually commissioned, what adds to detective stories readership is its ability to direct the attention of the audience in the circumstances that surround the crime rather than the event itself. Moreover, as the protagonist comes closer to the resolution, the story’s climax also starts to build up. Hence, the narrative takes shape through a logical process wherein the detective follows trail of clues until the detective solves the mystery surrounding the crime through deductive reasoning from the facts that are familiar to the characters and the reader himself. Such characteristics of a detective story are the very core reason why it has become influential among its followers (Seidman).
Many countries have experienced a massive boom in crime fiction and the recognition of language mystery writers that continuously entertain their devotees are increasing. Among those countries, Finland is said to have experienced massive boom in the crime fiction landscape since the time it emerged as a popular literature. For almost one hundred years, the popularity of the said genre in Finland has grown steadily, and currently, about 40 to 50 crime novels are annually published (Avas). For the foregoing, it may be perceived that the development of crime fiction as serious literature in Finland may be attributed to the approach used by the Finnish detective novel writers in order to consolidate and give detailed accounts of their stories. Hence, this paper seeks to analyze the detective novel genre existing in Finland and its difference and similarities among other Scandinavian countries.
Finland’s Contemporary Detective Novels: A Sign of Change and Modernity
The familiarity of Finland in popular literature evolved slowly compared to other European countries. The culture of international entertainment just stabilized during the latter parts of the nineteenth century (Knuuttila 111 qtd. in Kupiainen, Sevänen, Stotesbury and Knuuttila). The country’s peripheral location in the map, the dual languages spoken in the country (Finnish and Swedish), and the censorship laws invoked by the Russian empire during the 19th and early 20th century to control Finland are said to be the primary contributors to the late introduction of the Finns in the popular literature. In addition, the unwillingness of the book publishers and book sellers to support popular entertainment and books reinforced such late introduction (Salo 48 qtd in Kupiainen, Sevänen, Stotesbury and Knuuttila). Hence, literature genres such as adventure stories, detective stories, and other novels labeled as “popular” were scarce during the said periods. However, by the end of 1910, Finnish and Finnish-Swedish detective literature was already being created by various authors, and by 1920’s the pertained literature was being published with increasing intensity (Malmio 290, 1999; 161-163, 2000 qtd in Kupiainen, Sevänen, Stotesbury and Knuuttila). The decision of the writers to pen a genre, which is considered as an international product, was affected by the idea that detective novels are connotations of change and modernity (Sundholm, 175 qtd in Sevänen, Stotesbury and Knuuttila). It is an embodiment of the actual spirit of the modern era as seen with its fast paced story telling and remarkable situation analysis.
The Finnish Contemporary Crime Fiction: What Makes it Stand Out?
The Finnish crime fiction is best compared with the traditions of Scandinavian crime fiction; Scandinavia, which is represented by Nordic countries like Sweden, Denmark, Norway, Iceland, and Faroe Islands. Various differences are evident among the Nordic countries. However, the subject of realism in crime fiction is a strong feature in the Nordic regions which is apparent in the police procedural tradition present in the detective stories of the said countries (Harvas).
While Norway gave much attention to the hard-boiled fiction, lesbian police procedurals, and violent police procedurals presented by the likes of Gunnar Staalese, Ann Holt, and Karin Fossun, Danish detective novels have been widely acknowledged due to their political thrillers and metaphysical detective narration which gives mystery to the knowledge and capacity of its characters as seen in the novels by Leif Davidsen, Steen Christensen, and Michael Larsen. Icelandic crime fiction was able to establish its own figure in the detective novel landscape through the police procedurals of Arnaldur Indridason. Meanwhile, Sweden experienced a crime fiction boom in the 1990’s, attributed to the well-narrated hybrid yet classical detective story of Håkan Nesser, feminist thrillers of Liza Marklund, police procedural noirs of ?ke Edwardsson, and Henning Mankell’s most prominent “Wallander Series” (Nestingen). Finnish crime fiction, unlike its neighboring countries which mix their detective stories with grandeur illusions, has kept itself largely realistic by sticking to the contemporary police procedurals, wherein ordinary police officers are the protagonists and their criminals are limited to small time crooks in order to portray their central characters (Ingström). To quote Liisi Huhtala, a crime-fiction scholar: “the Finnish crime novel is a depressed gray chronicle about men’s difficult lives, be they police or criminals” (Huhtala 10 qtd. in Nestingen 205).
Finland’s detective stories can be classified as stories that are sensibly treated as detective stories, no more, no less. They are crafted in accordance to a formula that can be easily recognized by the audience. It avoids much of the monstrosities that other Scandinavian crime fiction has presented, wherein scenes are mixed with brutal violence intentionally placed in order to entertain more than to depict its social relevance. Because of this, Finnish detective novels can be viewed as something that are not full of pretenses; rather they have the capability to surprise their readers with high quality depiction of stories to which many of the readers can relate (Ingström).
Take for example the best-known contemporary Finnish crime writer Matti Joensu, who won various awards and a nomination for the Finlandia prize, which is the biggest literature prize in Finland. Joensuu worked as a police officer and started writing crime fiction during the 1970’s. The inspiration of his works came from the experiences he had when he was still a police officer. He somehow realized that all the process that his saw from his work should be developed into a distinctive and realistic novel, which soon became the foundations of the series that chronicled the police life of Timo Harjunpää. In Joensuu’s novel, he was able to introduce themes that are closer to human experience. He depicted human loneliness shared by both the criminals and the police officers. He embedded the subject of humanity and the critical attitude of people towards his or her society. Likewise, Joensuu was able to make both the policemen and criminals appear as the victims in differing situations. Nonetheless, Joensuu’s perspectives are more advanced for his time. Take for example his 1984 novel entitled “Harjunpää ja Heimolaiset” (Harjunpää and the Tribalists) which discusses racism. During that period, Finland has never had any public discussion regarding the said matter. Generally, Matti Joensuu’s detective novels gained wide readership because his literary works repeatedly present the subject of life’s unpredictability and the permanence of change. Likewise, he is also able to allow his readers to traverse through the helplessness of humans and the uncaring attitude of the society (Arvas).
Leena Lehtolainen’s detective series, built around the work of police officer Maria Kallio, are another notable Finnish detective novels centered on realism and feminist crime fiction. Lehtoilanen’s novels can be easily classified as such mainly because it is gender-sensitive and socially inclined. Her literary techniques enable readers to direct their attention to the main character. Her series are fashioned in a manner as though Maria Kallio were writing them as her personal autobiography. What makes Lehtoilanen’s detective novels stand out from the conventional first person narration is the tone of her protagonist—a merger of career and family life, wherein attending to a violent crime is juggled with her responsibility as a mother and a wife. Andrew Nestingen remarked that: “In depicting a complicated weave of work and family, Lehtolainen’s novels put the protagonist’s narrative of self in the foreground” (Nestingen). Other than this, the author’s autobiographical approach, along with the capability of autobiographies to transform lives into a symbol of national significance, the Kallio novels easily point out that everyday life is worth the attention of anyone while undercutting the politics that politicize the lives of individuals that are often left unnoticed (Nestingen). In this regard, Leena Lehtolainen remained alone as a writer for such subgenre of crime fiction (Arvas).
The prominence of crime fiction in Finland attracted many writers that today have become successful in their own rights. However, what remains as a virtual craft in every Finnish detective novel is the realism that cannot be found in the crime fiction of other countries. Finland’s contemporary crime fiction depicts familiar settings and crimes that are treated in realistic terms. Likewise, the main characters are police officers who, in real life, present subtle characteristics that are subject to question things and experience emotional backlash. Most importantly, Finnish crime fictions are socially critical as they are more often than not inspired from real life situations that the audience can easily relate to.
Works Cited
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<http://www.mysteryreaders.org/Issues/Scandinavian.html#arvas>.
Ingström, Pia. “Food for Thought.” Books from Finland. January 2006. 19 February 2009
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