Stieg Larsson is non unlike Vanger in how he presents the story. Vanger gives a lot of seeminly unimportant information at the beginning of his story, but soon, you're caught off guard by his objective - solve the mystery of his grand daughter's murder. Larsson's story is running in congruency with Vanger's and the two stories actually touch each other at this point. The beginning of the novel is filled with information concerning a legal case, politics, and a anticlimactic story of a spiraling career. It seems to be going nowhere, but suddeny, it becomes a murder mystery.
Blomkvist is our window to this world. He provides a framework to the story. If a reader can see eye-to-eye with Michael's reluctance to continue hearing a seemingly boring story, than Blomkvist becomes a vehicle in which emmersion into the text is all the more possible. The more a reader can relate to Blomkvist, the more a reader can temporarily stand by Michael within the story . Just as Michael wants to make the evening train back to home, the reader would just like to get back their own life.
In the moment that the Vanger reveals the object of the job, Llarsson is revealing the objective of the novel. Solve the case of the grand daughter's murder. It is the same bait and catches both Blomkvist and reader in a double hooked reel.
It would also seem that Lisbeth is somewhat of a personification of the book itsellf. The binding of the book is covered in a dragon tattoo like she. At first, the book starts slow just as Lisbeth's first impressions are lacking in good impression. However, abruptly, the expectation and evaluation of both the book and Lisbeth are changed; Lisbeth with the case and the book when the objective is revealed.
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