ARNALDUR INDRIDASON'S SHADOW DISTRICT

When the body of a woman is discovered in wartime Reykjavik's 'shadow district', suspicion falls on American soldiers, who have brought changes to the social life of the Icelandic capital. So the investigation is handled in tandem, by an Iceland cop, Flovent, and an American MP named Thorson, a Canadian solider seconded to the Americans because he actually speaks Icelandic. Murder investigation is literally a new thing for the Icelandic police, and they are still feeling their way around an investigation; Thorson, of course, is a soldier not a detective.

In modern Reykavik, a 90 year old man is found dead in his bed. A few days later, when an autopsy reveals he was suffocated, and the police investigate, all they find are some cuttings from that murder case in World War II. At which point Konrad, a retired police detective, is asked by his former colleague Marta to, unofficially, take a look.

The underlying theme behind Arnaldur Indridason's novels, explicit in some like his first in English, Jar City, has always been the uneasy conflict between traditional Iceland, a society sealed almost hermetically for centuries, and modern Iceland. His detective Erlendur loves to eat horse head; his colleague Sigurdur Oli loves all things American. Indridason wrote a stand-alone contemporary thriller involving Americans and Nazi bomber lost in 1945; the cold war figures in Draining Lake. World War II was the catalyst for this change, and that is the engine which powers this exceptional story, as its two strands grow closer and intertwine. And the connections are not what might at first appear to be.

The Shadow District takes us back to a society that seems more like Ibsen, if not Dickens, than the modern Iceland in which Erlendur worked, and it's significant that Konrad is a retired cop, someone who still has a foot in the past. It's not even that he is a typical Scandi 'depressive detective' the way Erlendur was so brilliantly drawn. He's a quiet old man, trying to connect the past and the present. There's more than a hint of Conrad too in the way the story plays out, as it very quietly becomes more and more dark, with twists and shocks, as well as the sadness of the years that passed between crime and punishment. Indridson is easily the finest of the contemporary Nordic crime writers, and though the label 'Nordic Noir' is slapped on anything written north of Schleswig-Holstein, this comes closer than most to living up to it. At any rate, it's one of the finest crime novels of this or any year.

The Shadow District by Arnaldur Indridson

Harvill Secker £12.99 ISBN 9781911215059

This review will also appear at Crime Time (www.crimetime.co.uk)

ARNALDUR INDRIDASON'S DRAINING LAKE

In many ways, The Draining Lake is my favorite of Arnaldur Indridason's Erlendur novels, and the most ambitious. The discovery of a corpse found buried in the eponymous lake, with an outdated Soviet radio transmitter weighing it down, starts an investigation whose roots go back to the heyday of the cold war, when Iceland was (before the Fischer-Spassky chess match put it firmly on the map) a backward island important to both sides only because of the American airbase at Keflavik.

There are distinct echoes in this novel of Halldor Laxness' The Atom Station, with the echoes of geopolitics rebounding on the narrow world-view of Icelanders, and Indridason, while not revealing who the corpse is, tells its back story convincingly, the tale of committed Icelandic communists studying in East Germany in the mid-fifties, of naiveté in both politics and love, and ultimate disillusionment. That story is portrayed convincingly, with young Tomas' idealism tinting the narrative, and we, the audience, knowing better.

Meanwhile, the investigation of the corpse shows Erlendur and his team at their most persistent, especially as they deal with the diplomats from the US and the 'new' Germany. There is a wonderful scene where the German ambassador explains that Iceland is seen as 'the back end of the world' in terms of diplomatic service, and when he proves less than forthcoming, an irritated Erlendur finally asks her 'what did you do wrong?' and when she doesn't understand, asks 'why were you sent to the arsehole of the world'. When his colleagues later chastise him, Erlendur lights up a smoke as says 'this arsehole-of-the-world stuff gets on my nerves'.

Of course that isn't all that gets on his nerves. The troubles with his drug-addicted daughter, and the distance of his relationship with his son, provide a counterpoint to the story told in flashback; meanwhile his platonic relationship with Valdegur, which began in Voices, is causing her husband to telephone him with threats. Erlendur is haunted by his lost brother, and there is in this novel a palpable sense of the isolation of Icelanders in the almost hermetically closed society of the small, cold island. This was part of the theme of Jar City, but here it is developed with the contrast of the enforced repression of the GDR, not that they are parallels, but each comments on the other: particularly when Oli, the young cop, reveals a strong conservative bent. If Hanning Mankell thought of Wallander as being about the anxiety of modern Swedish society, you could very much make the case that Indriason is following in his footsteps. But the wallander novels set outside Sweden are, to my mind, Mankell's least successful; Indridason's venture to East Germany works better, and makes Erlendur more compelling as a result.

The Draining Lake
Arnaldur Indridason, translated by Bernard Scudder
Vintage, 2008, £6.99 ISBN 9780099494140