Det är något som inte stämmer by Martina Haag

By Martina Haag

Självutlämnande och högst personlig! Det är något som inte stämmer utspelar sig långt från den charmiga värld som Martina Haag tecknat i sina tidigare böcker. Läsaren kommer nära in until den smärta som uppstår när kärleken lämnar en.

"Den här gången låter hon ett stråk av smärta och pina löpa genom historien. Det känns äkta och är modigt gjort. Det är också intresseväckande och humorn lyser klarare nu, när den får kontrastera mot en mörkare bakgrund."
Icakuriren

"Men så börjar Martina Haag berätta om en skilsmässa så att jag tappar andan: få kan beskriva känslor som hon. Sorgen, ångesten, självförtroendet som bara försvinner. Delar av den här boken är bättre än allt annat Martina Haag har skrivit."
Dagens Nyheter

"Romanen är intensiv och stark, ärlig i sitt tonfall, genomstungen av smärta. males också av drastisk galghumor."
Östgöta Correspondenten

"En smärtsamt träffsäker historia om hur det är att bli lämnad av sin kärlek och närmaste människa."
Bokhora

Man hör om hur det händer andra. guy tycker synd om dem. Och guy vet, innerst inne, att det aldrig kommer att hända en själv. males guy har ingen aning.

Det här är en roman om överlevnad. Om betydelsen av en rödrutig jacka. Om tama järvar med eldkastare. Om en bottenlös fjällsjö, dit ingen får gå, och om hur guy reser sig, trots att guy är helt säker på att guy inte orkar längre.

Martina Haag är författare, skådespelare och föreläsare.
I höst är hon också aktuell med filmatiseringen av Glada hälsningar från Missångerträsk.

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Extra info for Det är något som inte stämmer

Sample text

The notebook was in the trash at last. She would begin another one, a new life in which changes and corrections would be nothing but a manifestation of her own desires and her freedom. Yes. That’s right. One has to begin, she thought that night as she drifted into sleep – that other night, the one after the funeral. Begin? Will this be the new beginning? she asks herself now, thinking of Manuel and of the final repairs on the new house; she asks herself again, thinking also of her father, and then she rolls over again in bed, can’t sleep, has to turn over the warm pillow, seek out the coolest corner of the sheet with her foot.

They knew that with the old man’s widowhood, all their lives would finally change; no one knew, however, exactly how. Cecilia suspected that the legitimacy of the correction derived more from the power of the corrector than from the importance of the rectification. And she even knew – she learned this over the course of the years and with her father’s increasing prosperity – that the element conferring this power was money. Without it, that flood of corrective zeal would have been impossible. For that reason, when the money turned out to be useless and no amount could prevent Doña Leonor’s death, Cecilia suspected that she was standing on the threshold of a change that would affect her life positively, putting an end to the game of error and reparation, of lapse and repentance, once and for all.

Nonetheless, the next morning he procrastinated in preparing an excuse, and that afternoon he decided it would no longer be responsible of him to avoid the commitment. , when Macul was like a wolf ’s maw, ready to snap. Walking along Irarrázaval, toward the Pedagógico, he heard the distant sound of pots and pans, growing closer. It was always like that. The noise, which ultimately spread throughout the city, perhaps throughout the entire country, began with a distant metallic hum, a monotonous rhythm that grew as new hands joined the first protesters’ call.

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