I’ve been inconsistent in reading Camilla Läckberg’s Fjällbacka series, mostly because I realize they are not actually very well written. Läckberg still has trouble producing anything resembling snappy dialogue, and her writing is cliché-ridden. (At least her characters have stopped slapping their foreheads.) Still, she manages to come up with some fairly inventive plots, and her main characters, Patrik Hedström and his wife Erica Falck, are likable and appealing.
I liked The Lost Boy a little less than I have some of Läckberg’s other novels, even though it features ghosts, which is usually a plus. I think one reason is that a major plot point is telegraphed by the title. What is supposed to be a big surprise at the end was something I guessed very early on.
Nathalie has undergone some traumatic experience. We don’t know what it is, but it involves blood. She has fled with her son Sam to an island off Fjällbacka that is owned by her family. It is called Gräskär, but the locals call it Ghost Island.
Nathalie’s high school boyfriend Matte has also returned to the area. When he hears Nathalie is there, he takes a trip out to the island. Nathalie feels reassured by his presence, and they spend the night together. When she awakens, he is gone. A few days later, he’s found shot to death in his apartment.
Patrik is back to work after health problems and the funeral of Erica’s sister Anne’s baby. Erica is coping with newborn twins, Anne’s own children, and Anne’s depressed withdrawal.
In Denmark a woman is in hiding from her abusive husband. Slowly, the police discover possible links between Matte’s previous work for a women’s refuge and his murder. But then, why is a bag of cocaine in the trash outside his apartment?
Again, I liked this novel more than I wanted to, especially as the lives of several of the regular characters seem to be descending into soap opera. Still, Läckberg hid the identity of the murderer from me until late in the novel.
This book has strong themes about the abuse of women. In fact, that has been a theme since early in the series, when Anne was married to an abusive husband, but it is even stronger here.