I heard about Lilja Sigurðardóttir’s writing long before her books became available in English, and I was intrigued by the mixture of her sophisticated yet down-to-earth attitude, curiosity about life, and gloriously stylish flowing words. Then the good rumours became reality. Each year a new exciting novel appeared in perfect smooth translation by Quentin Bates, while the publisher Orenda Books kept on feeding our addiction. I have read Reykjavik Noir Trilogy (Snare, Trap and Cage), the standalone Betrayal, and now the latest offering in the Áróra Investigation series. In Cold as Hell and Red as Blood we got to know the main people and the setting of apparently peaceful calm country, but with the dark undertones and dangerous criminals running their businesses of money laundering and brutality on the Icelandic soil with tentacles spreading to several countries. It is a fantastic feeling to know that every time I begin to read, there will be richness of themes, complex relationships and interesting well-drawn believable characters. All these essential elements bathed in the atmospheric Icelandic light that moves into the unsettling darkness in a beat of a heart.

Winter in Iceland can be beautiful, crisp and refreshing but not when mental turmoil takes precedence. White as Snow focuses on the intriguing duo of people who are equally strong and vulnerable, confident professionally and a little touch insecure emotionally. Áróra works as a tough independent financial investigator, unafraid of digging into the murky world of money crooks. However, she is sensible enough not to cross certain borders when threatened by ruthless thugs. She still struggles with the aftermath of disappearance and death of her younger sister. She is preparing herself emotionally and mentally to search for the possible resting place of missing Ísafold, with maps of the country and a drone on standby. The experience of failing to support and save her from far afar as she used to live in the UK haunts her constantly. At that point a vaguely familiar woman Elín asks her to find out more about her Russian boyfriend Sergei who puts pressure to get married quickly while keeping big angry secrets. The suspicious? man’s background leads Áróra to a shocking discovery that their paths have crossed already. Elín turns out to be Daniel’s ex wife, and very insecure about that sudden love with a younger man, which immediately bring back unsettling memories of Ísafold’s relationship with her abusive husband: ‘Ísafold had been through a never-ending carousel of denial and crisis, depending on whether Björn had beaten her or was at his most penitent, with gifts and romance.’

At the same time the police detective Daníel faces his toughest investigation yet: the incomprehensible horrors of human trafficking. He is determined to find those responsible for abandoning a shipping container on the outskirts of Reykjavik – and causing multiple deaths. The discovery of the bodies of five young women, one of them barely alive, in the metal container shook him and the whole investigative team to the core. The brutality and violence of this case take over his life in a way, with a sense that he must hunt the killer, or killers, to ensure that they are brought to justice. It’s not easy to deal with this as Daniel and his colleagues soon realise: ‘What you call insight is really working against me right now.’ Of course the professional emotions become secondary compared to what the Nigerian woman Bisi Babalola had to endure. She was lucky to survive the ordeal of being treated like goods and ‘shipped’ from France to Iceland, in yet another unfortunate case which shows how easy it is for powerless or marginalised people to be manipulated into believing that others want to help them.

The plot moves smoothly between big and small issues: writing is urgent, ingenious, relevant. Compact, yet generous story, and the precise prose make huge impact on the reader. Vivid characterisation of everyone who plays even a small part, plus intelligent and compassionate writing that keeps the tension going, are Lilja Siguardardottir’s stylistic trademarks, and I am sure that White as Snow would look brilliant on a screen. With the darkness of criminal underworld, international links, and Áróra and Daniel becoming a very close duo indeed. Their relationship is nuanced and complicated as they both want to keep things professional but are so attracted to each other on personal level. And even if this statement refers to Daniel: ‘your deep understanding – your insight and sympathy’, I would say that it could also apply to Áróra, the determined but sensitive Nordic heroine.