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Descripción de editorial
Here is the real inside story—not the one about the Stieg Larsson phenomenon, but rather the love story of a man and a woman whose lives came to be guided by politics and love, coffee and activism, writing and friendship. Only one person in the world knows that story well enough to tell it with authority. Her name is Eva Gabrielsson.
Eva Gabrielsson and Stieg Larsson shared everything, starting when they were both eighteen until his untimely death thirty-two years later at the age of fifty. In “There Are Things I Want You to Know” about Stieg Larsson and Me, Eva Gabrielsson accepts the daunting challenge of telling the story of their shared life steeped in love and sharpened in the struggle for justice and human rights. She chooses to tell it in short, spare, lyrical chapters, like snapshots, regaling Larsson’s readers with the inside account of how he wrote, why he wrote, who the sources were for Lisbeth and his other characters—graciously answering Stieg Larsson’s readers’ most pressing questions—and at the same time telling us the things we didn’t know we wanted to know—about love and loss, death, betrayal, and the mistreatment of women.
In this candid, moving work, Gabrielsson chronicles her life's journey with her longtime companion, Stieg Larsson, the Swedish creator of the Millennium trilogy who died suddenly at age 50, in 2004, before the first volume of his phenomenally successful work (The Girl with the Dragon Tattoo, in English) was even published. Gabrielsson tells that she had little legal recourse in Sweden to claim his literary and intellectual property even though the childless couple had lived together in Stockholm for 30 years and shared passions for science fiction and political activism; they edited and published their joint antifascist, antiracist newsletter, Expo, begun in the mid-1990s, to combat a wave of extreme right-wing militancy in Sweden. The rights to Larsson's literary trilogy fell posthumously to his father and brother, who shut Gabrielsson out. Gabrielsson writes about their similarities: both came from simple farm people, abandoned as children by their parents to be raised largely by grandparents; they met at a student anti Vietnam War meeting in 1972 and together moved through leftist movements to find meaningful work, Larsson at the Swedish news agency TT, and Gabrielsson as an architect. Much of their political engagement and feminism is reflected in the Millennium books, the writing of which developed much later in Larsson's career as Gabrielsson, evidently the person who understood him as few did, warmly, lovingly depicts in this spirited defense of their relationship.