In the midst of all of this, Lisbeth Salander explodes like a grenade tossed into an ammunition dump. Ferociously individualist, incorruptible, disdainful, and suspicious of all forms of social organization, and dedicated to her own personal moral code, Salander often seems to have stepped into Larsson’s world from out of an Ayn Rand novel. She despises all institutions, whether they are business corporations, government agencies, or the Stockholm police. Rejecting all forms of ideology, she is dedicated only to her own individual sense of justice. Relentlessly cerebral, she trusts only what she can ascertain with her own mind and her own formidable talents. She considers Blomquist a naïve fool because of his belief that social conditions cause people to commit the horrible crimes he investigates. At one point, as Blomquist ponders the motivations of a brutal serial killer, Salander erupts, “He’s just a pig who hates women!” Salander believes there are no excuses, everyone is responsible for their own actions, including herself, and must answer for them accordingly.
In short, Salander is as close to an avenging angel libertarianism is ever likely to get, and her presence in the novels throws the books’ politics into a bizarre contradiction. Far from the left-wing bromide in favor of democratic socialism it appears to be, the Millennium trilogy, as Ian MacDougall has pointed out in the leftist journal n+1, often appears on second glance like a calculated and relentless evisceration of the Swedish welfare state. Indeed, not only is Salander a walking rebuke to the myths of Scandinavian socialism, but she is usually portrayed by Larsson as being absolutely correct in her attitude toward it. “In this Sweden,” MacDougall writes:
The country’s well-polished façade belies a broken apparatus of government whose rusty flywheels are little more than the playthings of crooks. The doctors are crooked. The bureaucrats are crooked. The newspapermen are crooked. The industrialists and businessmen, laid bare by merciless transparency laws, are nevertheless crooked. The police and the prosecutors are crooked.
In Larsson’s world, it is only the individual — usually Salander — with their own personal sense of right and wrong and the courage to act on it, who can save the day.
It is, perhaps, telling that millions of readers around the world, whatever their political orientation, have become fans of the Millennium series and especially of Lisbeth Salander. Indeed, it appears that Steig Larsson, though he himself might have been horrified at the prospect, gave birth to one of the great literary ironies of our time: for reasons that will likely forever remain unknown, a Scandinavian leftist managed to create a libertarian parable for the ages.