Larsson, Stieg.

8vo, 3 volumes, new hardback edition (originally produced for the new boxed set), map of Hedeby Island drawn by Emily Faccini, translated from the Swedish by Steve Murray ("Reg Keeland"), specially bound by Sangorski & Sutcliffe in crushed black morocco, gilt designs on upper covers illustrating the themes in the titles of dragon, hornet's nest and fire, spines with black onlays lettered in silver together forming the author's name, additional onlays in red and white with titles of each volume (the first also with the original title, "Men Who Hate Women"), five silver studs in a row on the upper covers, these interlocking with square red grooves on lower covers, all edges gilt, red endpapers, preserved in specially made black morocco case incorporating an additional slipcase with a letter of rejection in Swedish from the Institute of Applied Psychology in Stockholm (addressed to the author as "493 S. Larsson" informing him at the request of the Joint Committee of Colleges of Journalism, that [translation]  "unfortunately your performance in the written selection test was not up to standard of other applicants. We are therefore unable to offer you a place at any College...in the autumn of 1972..."), original pencil portrait by Steig Larsson on the reverse

Condition is described in the main body of the cataloguing, when appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any stat.mes nt made by Replica Shoes 's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A spectacular and unique binding for the greatest publishing phenomenon in international detective fiction of modern t.mes s.

Inspired by his lifelong loathing of sexual violence towards women, as well as his experience as a journalist and editor (particularly for the anti-fascist and anti-extremist magazine Expo, see above) Larsson wrote and submitted the manuscripts of the first three (of what was intended ultimately to be 10) novels in the Millenium series to various publishers before his sudden death in 2004. Norstedts Förlag accepted them for publication, but an English language publisher proved very difficult to find until Christopher Maclehose bought the rights for the small London publisher Quercus. By the middle of 2010 over 27 million copies of the trilogy had been sold worldwide. The immensely successful Swedish film adaptation appeared in 2009 and 2010; an American version, involving the BBC, Metro-Goldwyn-Mayer and Sony Pictures, is due to be released at the end of 2011.

Alison Strachan, the binding director at Sangorski & Sutcliffe / Shepherd's, has commented on the special design of the binding:

"After being commissioned to come up with a design concept for the Larsson trilogy, I read each book one immediately after the other, so that the connecting themes were fresh in my mind.  I felt that the way the two main characters work together in close synchronicity (although after the first book they are rarely physically together), and the manner in which each novel feeds off the last, had to be reflected in the way the books worked together as a set.  There was also a strong impression in my mind of Lisbet's physical appearance, which was echoed in the violence in her character as well as that shown against her by male characters in the book.  The studs were a manifestation of this male/female theme and the sado-masochism of some of the male characters.  The way the studs each fit into the cover of the next book, was a symbol of how the protagonists work together, their close relationship which is intrinsic to how each of the books relates to the other.  The colour scheme of red and black seemed appropriate to the violence and darkness of the subject matter, and the hand-tooled designs of each front cover were designed to echo the images of the titles and the tattoos that cover Lisbet.   I brought these simple ideas to Eri Funazaki, our chief designer, and she turned them into a beautifully considered and expertly crafted whole."