Fire is contradicting in almost every sense. While it brings warmth and comfort, it can also be destructive and deadly. Historically, fire was a sign for life and sustenance. Being so difficult to capture in its early discovery, fire was often sacred and used in ceremonies to appease Gods of all religions. Today fire is dangerous, often associated with wrath and pain. Fire is also figuratively seen as power, strength and will. A more befitting word couldn’t have been used to entitle Steig Larsson’s Dragon Tattoo sequel, The Girl Who Played with Fire; a novel that’s deadly to the core, but oh so delightful to behold.
Like its predecessor, the plot focuses on the two progressing storylines of its heroes, Lisbeth Salander and Mikael Blomkvist. Without any spoilers, the duo’s unrelated lives are interwoven beautifully, to finally unite in the Everest-proportioned climax and explosive cliffhanger. In this novel we find Lisbeth scornful of Blomkvist’s indiscretion, and hell-bent in shutting him out of her life for good. For Blomkvist, having restored his place in Millennium magazine, he is keenly interested in the mud raking potential a new story brought in by an aspiring journalist Dag Svensson. Dag presents several years of investigation into human trafficking and sexual violence that links many high ranking officials in government and the police force. It’s a scandal of monumental proportions that could not only set Dag on the map, but also bring Millennium up from the brink of bankruptcy. Continue reading