Kristianstad is linked to Linnea Lundström’s early childhood and to the family visits that bring Viggo Dürer into the story. It becomes more than a place-name when Annette’s account of an incident there is set beside a drawing Linnea made as a small child: together, the details connect the house in Kristianstad with Viggo and unsettle Annette’s understanding of what happened.

Identity and Setting

Annette Lundström identifies Kristianstad as the place where she believed Karl Lundström had abused Linnea once, when Linnea was three. She describes the episode as a mistake and says she had thought it happened only that time. Her account places the incident within a family history she has struggled to understand, including Karl’s sexual interest in disturbing films and his relationship with Linnea.

The House in Linnea’s Drawing

When Sofia Zetterlund asks about a drawing, Annette explains that Linnea could not yet write and had drawn the man’s name instead. In the picture, he is the bent-backed figure behind a tree. Annette identifies the name as Viggo Dürer and says the house Linnea drew is the one in Kristianstad. The drawing supplies a concrete place and a name where Annette’s earlier account had offered only a single incident she believed she understood.

Visits and Narrative Significance

Annette says Viggo was her friend’s husband and that he and his wife often visited the family in Kristianstad, although they lived in Denmark at the time. The ordinary pattern of visits makes the house part of an established social connection, not an isolated setting. Once Annette names Viggo, Sofia recognizes him as her parents’ lawyer and thinks of him as someone to watch. Kristianstad therefore anchors a disclosure that redirects suspicion toward a familiar visitor and makes Linnea’s childhood drawing consequential to the investigation.