Peter Steiner has written a splendid book. Though categorized as a thriller, The Good Cop is really a historical novel with intrigue and mystery embedded in its masterful story-telling, resulting in pages that seem to turn themselves. Set in Munich in the years following Germany’s loss of World War I, we witness the inexorable rise of Adolph Hitler as it bears riveting, cautionary relevance to our current political situation.
Steiner captures, with exemplary accuracy, the time and place of post WWI Weimar Germany so that any reader, either schooled in that history or too young to have any notion of what transpired, can gradually understand in a compelling, intimate way the zeitgeist that made Hitler’s rise to Chancellor possible. Steiner seamlessly works in a large cast of characters including artists, journalists, minor politicians, policemen, aristocrats, the poor, socialists, Hitler himself and his emerging crew of Nazi henchmen.
The novel opens with Maximillian Wolf arriving in Munich physically scarred and traumatized by his years on the front line. An artist, he is hired by a small weekly newspaper, Das Neue Deutsche Bild, to sketch events he observes on the war torn streets, and in the beer gardens and meeting halls. Sophie Auerbach, a young reporter whose husband was killed in the war, works at the same publication. She and Maximillian are thrown together in their coverage of meetings of the German Workers Party, early followers of Hitler. They both encounter resistance to their frank coverage from the Publisher, and from others loyal to the insurgent Hitler. The tensions culminate in a bomb being thrown directly into the newspaper offices. Sophie is critically wounded and hospitalized for months. The plot is set in motion when Willi Geismeier, a moral policeman in an amoral time, is assigned to the case.
We as readers can identify with the ordinariness of the lives of all the characters—the honorable and those shading into corruption—as they struggle to overcome the repercussions of the war, in a world that has turned against them as a citizens of a country on the losing side of the conflict, grappling with the economic disaster that follows from inflation that manifests itself in wheel barrels of cash necessary for the smallest purchases of food and other everyday needs. The brilliance of Steiner’s depiction is that he allows us the space and the freedom to ask ourselves, how would we have responded to such dire circumstances? Would I have been one of the good, or would I have succumbed to a relativistic life of political compromise, or would I have gone completely over to the dark side.
Too many books about the rise of Nazi Germany provide the reader with the comfort of the black and white choice between good and evil, obfuscating the possibility of understanding of how evil can sneak up on us and gradually render us complicit.
The Good Cop arrives at a crucial moment, as bit-by-bit in the United States and worldwide, leaders have emerged in various cultural identities with the intent to undermine participatory democracy in favor of authoritarian rule, camouflaged by a rhetorical veneer of supposed populism. Steiner helps us understand our own predicament through this fully realized narrative fashioned out of extensive, solid research and the genius of his imagination. It must be said that Steiner is also a visual artist and he uses that gift to paint the reality of the time in evocative cinematic gestures. We literally watch the upending of a democratic society as it vividly plays out before us.
Steiner gives us no solutions, but he does offer a glimmer of hope in the actions of his protagonists, Sophie, Maximillian, and Willi, who could serve as historical guideposts out of our contemporary political morass.
Word has it that this is the first in a series with Willi Geismeier in the lead. Good news for all of us who admire this novel and are awaiting more insight into history as foreshadow of the future.