Let the Right One in

By John Ajvide Lindqvist

Book Overview

John Ajvide Lindqvist's international bestseller Let the Right One In is "a brilliant take on the vampire myth, and a roaring good story" (New York Times bestselling author Kelley Armstrong), the basis for the multi-film festival award-winning Swedish film, the U.S. adaptation Let Me In directed by Matt Reeves (The Batman), and the Showtime TV series.

It is autumn 1981 when inconceivable horror comes to Blackeberg, a suburb in Sweden. The body of a teenager is found, emptied of blood, the murder rumored to be part of a ritual killing. Twelve-year-old Oskar is personally hoping that revenge has come at long last--revenge for the bullying he endures at school, day after day.

But the murder is not the most important thing on his mind. A new girl has moved in next door--a girl who has never seen a Rubik's Cube before, but who can solve it at once. There is something wrong with her, though, something odd. And she only comes out at night. . .

• Format: Paperback
• Language: English
• ISBN: 0312355297
• ISBN13: 9780312355296
• Release Date: October 2008
• Publisher: St. Martin's Griffin
• Length: 480 Pages
• Weight: 0.99 lbs.
• Dimensions: 1.4" x 5.4" x 8.1"

Customer Reviews

If you like the movie, you'll love the book

I think one of the things I like more about the book than either movie adaptation (the American version, Let Me In, erased this fact from the story all together, while the Original version made it a lot more subtle) is that you figure out early on that Eli isn't naturally a female. That she was born male and opted to be considered female after being turned and castrated. It's one of the rare instances where there was little to no backlash over the transgender elements in a book or it's cinema adaptation. Eli is just Eli. And that's beautiful. This book is so so much better than the movie. I haven't watched either version in awhile but I don't remember even half of this book being in either movie. It's so rare that I find a book that makes me feel so much all at the same time. Oskar is honestly one of the most lovable characters ever written and Eli's practically tied for that. The way this is written, if it wasn't for the detailed death scenes, I'd forget this is horror. It's an amazing story of friendship and love with all the gory bits that make it an equally amazing literary horror.

Good book

The book itself was good but the plot to me dragged at the end. I don't think the last 100 pages were necessary. That said, the writing is very unique and beautiful.

Lucky is he who has such a friend

Vampire stories tend to come in two flavours -- either they're creepy horor stories, or celebrations of goth hotties tortured by their immortality. But John Ajvide Lindqvist's "Let The Right One In" is neither kind or story. Instead this haunting, atmospheric Swedish movie is a poignant look at a very unique friendship between a young boy and a vampire child. His spare prose has a haunting poetic edge even in the violent scenes, and is littered with moments of pure creepiness and beauty. A man and a young girl have moved into the apartment next to Oskar's. But he's more concerned with the savage bullies that attack him every single day. But as he vents his frustrations by stabbing a tree, he sees a ghostly young girl named Eli, who informs him that she can't be his friend. She turns out to be as much of an oddball as Oskar -- especially since she only ventures out at night, smells like death, and is unaffected by the winter cold. But despite her odd greeting, the two strike up an innocent friendship. At the same time, her servant Hakan is going around town killing young boys for Eli's sake, and trying to blackmail her into sleeping with him in exchange for blood. Oskar realizes that Eli is a bona fide vampire -- and not really a girl -- but doesn't intend to let that get in the way of their puppy love. Yet when Hakan's errands go horribly awry, Oskar finds himself to be the only person Eli can rely on. Trust me, "Let the Right One In" has no sentimental ideas about children (even vampiric ones) -- they can be more violent than anyone, because they are more vulnerable. The adults are all distant and/or alcoholic, leaving the children to fend for themselves -- which makes the tender, clumsy connection between Eli and Oskar all the more striking. The plot starts out slow, with Oskar expressing his anger and loneliness in violent fantasies, and Hakan being all creepy and pedophiley as he harvests blood for Eli. The story gradually grows tenser and more murky as the tensions grow more overpowering, leading to a gruesome clash in a cold swimming pool (with shattered glass "over the water like myriad white stars"). While Lindqvist's prose also starts out stark and spare, it becomes more dreamlike and haunting once Eli and Oskar start meeting at night. The words become more poetic ("Her fingers were long and slender as twigs), and even the brutality of Eli feeding off a teenage boy is written beautifully. Simultaneously, Lindqvist pares down the conversations between Hakan and Eli to mere brief exchanges, and thus keeping Eli's true nature a mystery. And Lindqvist does a brilliant job with the vampiric angle. It's eerie rather than bloody or scary, and he manages to come up with some new twists (Eli's "dead" smell and matted hair). But this book's heart is the bittersweet, strangely innocent romance between Eli and Oskar -- they play with puzzles, laugh on the swings, and listen to each other through the walls. And their moments of violence --

Victims and Victimizers

Let the Right One In, by John Ajvide Lindovist. has one fantastic element: vampires. It's set in a suburb of Stockholm, on a social housing development that has become a sink estate. It's a sad place, full of aimless people. The people with responsibility - teachers, policemen, parents, are, for the most part, trying to do the right thing. They've got good intentions. The book has a huge cast of characters with the major division between adults and children, each subdivided into the successful, more or less, and the failures, with a further division into victims and victimizers. The book opens with a bullied child, Oskar, who fantasizes about becoming a mass murderer. He meets Elli, a child vampire. The predictable does not happen. Many of the adults on the estate are as powerless as the children - lonely, middle aged and elderly alcoholics, unemployed or working at minimum wage jobs. They are presented with a moral choice similar to that of the children: even if a victim, one can refuse to victimize others. (And that is the major freedom the characters in the book have.) An earlier reviewer said he/she wasn't sure if this was belonged in horror... it's horror in the same way that Henry James' ghost stories fit the genre. It's mainstream/literary/horror, a book that crosses boundaries. I think genres are more useful for finding a kind of reading than describing a book - essentially, this is a very good book that people who read horror and people who would never consider reading horror would both like. It doesn't rank highly on the 'feel good factor' but it has a surprisingly happy ending -- one of those 'happy endings' that is about as happy as, all things considered, an ending can be. I loved it - and think it's one of the best books I've read in the past year or so.

A riveting, tense thriller

Set in Sweden in 1981, LET ME IN provides a riveting, tense thriller revolving around a dead teen and a possible ritual murder spree. Add a pre-teen who hopes revenge has come for the bullying he's suffered and a strange new girl who moves in next door, who only comes out at night, and you have a vampire novel to rival Anne Rice's best: a tense thriller recommended for any general lending library where patrons request powerful characterization and vampire novels.