In Scandinavia the landscape goes a long way towards creating a sense of dread, as does a bloody past and history of dark folklore. Yet their relative peace seems to make homicide and butchery – when committed to the page – all the more alarming.
Both regions, for example, are among the safest in the world: indeed, Australian murder rates are at record lows. There is a parallel to be drawn here with Scandinavian noir. In the wake of The Dry’s success (it has already been sold to more than 20 publishers worldwide and Reese Witherspoon’s production company has optioned the film rights) – it is worth asking the question: how has Australian crime writing carved itself a niche using the landscape as a canvas for fear? From ice and snow to the desert sun Harper’s debut novel, published in May, portrays the outback at its most cruel: a force that gives and takes life, as unforgiving and fierce as the bleak Nordic snowscapes that have become synonymous with great crime and horror writing. Did Luke really kill his wife and son in cold blood? Or is foul play at hand?
When policeman and former Kiewarra resident Aaron Falk returns home for his childhood friend’s funeral he starts to ask questions.
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