2025 Reading List Update, Girl Power in Books, Scandinavian Crime Fiction At Its Best, Dream Count and Amma
March wrap-up
Hello and happy Sunday!
I can’t believe it’s April already! Winter seems like a long-forgotten dream, except for those early (and rare) mornings when I go to the gym. Just a few days ago, I came out of the building, and it was snowing. By lunchtime, it was sunny again.
As a reader, I have always struggled in March. The changing weather, the switch to Daylight Saving Time, and an overall sense of change make it hard to sit down for long periods to read. Audiobooks have been handier than ever for me this year, as they usually help my anxious mind and keep me focused even if I fidget or get up from my chair.
March is also Women’s Month, which we celebrate primarily on the 8th, but its vibe lingers. Unintentionally, this month, I focused on female-driven narratives, culminating in a reread of Steig Larsson’s The Girl with the Dragon Tattoo. The title’s translation into English has always rubbed me the wrong way, maybe because it sparked the insufferable and ubiquitous trend of book titles that became indistinguishable: The Girl Who…, The Woman… 1 I wonder if Harry Potter would have had more (if that’s even possible) or less success if it had been titled "The Boy Who Lived.” The original Swedish translates as Men Who Hate Women, which is how it was translated into Romanian, as well.
The Story Graph does a very good job of helping users visualise their book data, and here are my personal stats for March 2025. If you’ve never heard of the app, check it out. It’s the best alternative to Goodreads that I have come across, and it has some very cool features, such as buddy reads, trigger warnings, and AI-powered book recommendations based on your reader profile.
Rereading The Girl with the Dragon Tattoo 15 Years Later
Revisiting The Girl with the Dragon Tattoo by Stieg Larsson 15 years after its release has been a fascinating experience. This Scandinavian noir classic has aged remarkably well, retaining its dark, gripping narrative and sharp social commentary. Here’s what stood out to me this time around:
First, as someone older and (hopefully) wiser, I found myself appreciating the corporate and financial jargon much more. When I first read it around 2007, the intricacies of Mikael Blomkvist’s libel case and the Wennerström scandal felt like background noise to the mystery. Now, I see how these elements anchor the story in a world of greed and corruption, making it more than just a murder mystery—it’s a critique of systemic power imbalances. With the current global political landscape and the rise of the rich and inept, the topic (or should I say “trope”) is more relevant than ever.
The crimes at the heart of the novel remain as harrowing as I perceived them the first time. Larsson doesn’t shy away from portraying violence against women, and those scenes are still gut-wrenching to read. Yet, they underscore the book’s central themes: justice, survival, and exposing societal rot. It’s not easy to get through, but it feels necessary.
Lisbeth Salander, though—what a character! I admired her back then for her brilliance and resilience, but now I understand her better. And the atrociousness of the crimes makes her revenge all the more sweet. Her contradictions—vulnerable yet fierce, detached yet deeply principled—make her one of fiction’s most compelling protagonists. Her actions, especially in taking down her abusive guardian, feel even more justified and cathartic on this reread. I’m an even bigger fan now.
The Girl with the Dragon Tattoo remains a masterpiece of crime fiction, and it was what set off the Scandinavian crime fiction trend, which has become a massive trend of its own. It’s dark, complex, and unflinching—a book that challenges you while keeping you hooked. For anyone who hasn’t revisited it recently (or at all), it’s well worth diving back into Hedeby Island’s chilling secrets. I will continue my reread with the two original sequels, and I might even try out the recent continuations written by different authors.
Sequels to the original series
I became aware of the new books in the Millennium Universe and scoffed at the idea back then, thinking that some people should leave a good thing alone and not try to profit from it. But I will admit the temptation is strong! Especially after I learned that Stieg Larsson’s initial vision for the series ran the course of ten novels, and he had outlined for the rest of the books.
Sequels by David Lagercrantz
1. The Girl in the Spider’s Web (2015)
Larsson’s family (his father and brother) chose Lagercrantz to continue the series. This instalment introduces new elements like Silicon Valley and NSA characters while maintaining Larsson’s core themes of corruption and abuse of power. It was justified as a way to keep Larsson’s legacy alive and introduce Lisbeth Salander to a new generation of readers.
2. The Girl Who Takes an Eye for an Eye (2017)
This sequel delves deeper into Lisbeth Salander’s past, exploring her childhood trauma and its impact on her present. Lagercrantz stated that he felt freer to add his own voice to the series while staying true to its essence. Though by this point the titles become obsolete: stop being mysterious, guys, we know Lisbeth takes an eye for an eye. You might as well call the series Lisbeth Salander and the NSA, or other similar titles!
3. The Girl Who Lived Twice (2019) - what was I saying about The Boy Who Lived?
The final book by Lagercrantz wraps up his contributions to the series. He described it as his best work in the trilogy, signalling his departure from the Millennium universe. The justification for these books was both commercial success and the belief that Lisbeth Salander had become an iconic character who deserved to live on.
A third trilogy is being worked on
In the 2020s, we have some sequels by Karin Smirnoff, whose contribution is ongoing. Notice how The Girl in the title seems to be less of a menace and more of a victim.
1. The Girl in the Eagle’s Talons (2022; English translation 2023)
Just like in Lagerkrantz’s case, Smirnoff was selected by Larsson’s estate to write a new trilogy. The emphasis was on humanising Lisbeth Salander while maintaining the political and societal themes of the original series. Smirnoff aimed to bring a fresh perspective while respecting Larsson’s legacy.
2. The Girl with Ice in Her Veins (2024; English translation 2025)
This sequel continues Smirnoff’s exploration of Lisbeth Salander’s vulnerabilities and growth as a character while introducing new storylines relevant to contemporary issues.
3. Third Novel (Title TBD) – Upcoming
A third instalment by Smirnoff is planned but has not yet been titled or published.
Dana’s Book Club Reading List Update
I’ve reviewed our reading list for the year and made some adjustments after discussing it with the group. We embarked in January with enthusiasm for the New Year, and I had flagged a main book and a wild card for April, knowing that Dream Count, by Chimamanda Adichie was coming out in March.
But in my haste, I forgot that Easter falls in April. That’s a factor to consider because Easter is a big deal in Romania and tends to disrupt the normal flow of life: visits with family, excursions with friends, etc. So, we’ve decided to fill our empty spot in August with Dream Count.
The question is, can I hold off until then, or will I read it before?
Chimamanda Ngozi Adichie’s Dream Count, released on March 4, 2025, marks her return to fiction after a 12-year hiatus since Americanah. The novel follows the intertwined lives of four African women—Chiamaka, Zikora, Omelogor, and Kadiatou—navigating love, heartbreak, and self-discovery against the backdrop of the COVID-19 pandemic. Set between Nigeria and the U.S., it explores themes of love, societal expectations, and personal fulfilment.
Each character faces unique challenges: Chiamaka reflects on past relationships; Zikora grapples with betrayal; Omelogor questions her identity despite professional success; and Kadiatou endures systemic injustice after a harrowing assault.
Critically acclaimed, Dream Count has been praised for its emotional depth and nuanced storytelling. The New York Times described it as “dreamy” and introspective, while The Guardian highlighted its “richly marbled crisscrossing storylines.” It has been longlisted for the Women’s Prize for Fiction 2025 and became an instant bestseller, topping charts globally. Copies sold out within hours in bookstores across the U.K. and Nigeria, with similar enthusiasm seen in book tours.
The novel’s reception has been overwhelmingly positive. Critics lauded Adichie’s mature and wistful prose, which reflects her personal experiences of grief and resilience during the pandemic. Readers have celebrated her ability to evoke empathy and illuminate complex female experiences. However, some reviews noted its unconventional narrative structure as polarising.
I am reading our April book, Amma, by Saraid de Silva, a Sri Lankan author, shown below. While researching the above synopsis of Dream Count, I was struck by how similar it is to Amma. Both works employ non-linear storytelling to weave together the lives of multiple generations. In Dream Count, Adichie uses the COVID-19 pandemic as a backdrop to examine the emotional landscapes of four African women navigating love and societal expectations. Similarly, Amma spans decades and continents, following three Sri Lankan women—Josephina, Sithara, and Annie—as they grapple with intergenerational trauma and displacement across Singapore, Sri Lanka, New Zealand, and England.
I can see the narrative structure being polarising for some of Amma’s reviewers, too, and I am one of them: I find the jumping around in time confusing, especially with characters who are related to one another. My anxious brain struggles to keep up without a family tree; unfortunately, the book doesn’t provide one.
Beyond this, Chimamanda Ngozi Adichie’s Dream Count and Saraid de Silva’s Amma share striking parallels in exploring women’s lives across generations. However, they differ in scope and cultural focus. Both novels centre on themes of identity, trauma, resilience, and the enduring bonds between women, making them poignant reflections on family and societal challenges.
Adichie’s novel goes deep into personal heartbreaks and societal pressures in contemporary settings, while de Silva’s Amma tackles heavier themes such as sexual violence, racism, and domestic abuse. Both highlight how women confront adversity and reclaim agency within patriarchal structures. Dream Count expresses this through introspective journeys during the pandemic; in Amma, it manifests as acts of retaliation against systemic injustices.
While Dream Count focuses on African women’s experiences in a globalised world, Amma explores the diasporic struggles of Sri Lankan women trying to preserve their heritage while adapting to new environments. Both novels emphasise how cultural identity shapes familial relationships and individual choices.
When I picked them both for April, I knew very little about their topics, themes and styles, and I’m slightly in awe of whatever vibe I got from these two authors that made me associate them.
As I am a few pages away from finishing Amma, I might pick Dream Count next because it makes so much sense!
The Woman in Cabin 10 by Ruth Ware (2016)
The Woman in the Window by A.J. Finn (2018)
The Women by Kristin Hannah (2024)
The Woman Who Stole My Life by Marian Keyes (2014)
The Woman Who Walked into Doors by Roddy Doyle (2006 reissue)
The Woman Who Would Be King by Kara Cooney (2014)
The Woman Upstairs by Claire Messud (2013)
The Women in Black by Madeleine St John (2009 reissue)
The Women of the Copper Country by Mary Doria Russell (2019)
The Woman Who Smashed Codes by Jason Fagone (2017)
The Girl with the Dragon Tattoo by Stieg Larsson (2005)
The Girl Who Played with Fire by Stieg Larsson (2006)
The Girl Who Kicked the Hornet's Nest by Stieg Larsson (2007)
The Girl on the Train by Paula Hawkins (2015)
The Girl in the Spider’s Web by David Lagercrantz (2015)
The Girl Who Takes an Eye for an Eye by David Lagercrantz (2017)
The Girl Who Lived Twice by David Lagercrantz (2019)
The Girl with All the Gifts by M.R. Carey (2014)
The Girls by Emma Cline (2016)
The Girl Who Drank the Moon by Kelly Barnhill (2016)