Lives deformed by war and revolution

April 17, 2005

Was it Pericles who said ''Just because you don't take an interest in politics doesn't mean politics won't take an interest in you"? Or was it Trotsky? Or both? Neither one, it is safe to assume, spent much time reading historical novels, let alone historical crime novels. Today, however, they might, if only to see themselves repeatedly proved right.

Take a sufficiently murky period -- say Berlin in 1919 -- and even the most cynical hero is out of his depth once politics takes an interest in him. Detective Inspector Nikolai Hoffner, for example, thinks that he has seen it all. ''Christmas had brought nothing, except perhaps the truth about how the war had been lost long before the summer," he observes at the beginning of Jonathan Rabb's new novel, ''Rosa." ''Oh, and of course, the revolution . . . a thoroughly German revolution with documents in triplicate, cries from the balconies, demonstrations and parades, tea still at four o'clock, dinner at seven, and perhaps a little dancing afterward. . . . Shots had been fired, naturally, a few hundred were dead, but the socialists -- not the real socialists, mind you -- were straightening everything up."

Following the socialist revolution that inflamed Germany in the final days of World War I, forcing Kaiser Wilhelm into exile and turning Berlin into a battleground, the assassination of two revolutionary leaders -- Karl Liebknecht and Rosa Luxemburg -- in January 1919 seemed to be the final violent convulsion. Rosa's body, however, remained missing until the end of May, when it surfaced in a Berlin canal. That mystery is what interests Rabb, whose esoteric teasers ''The Overseer" and ''The Book of Q" took on Machiavelli's political theory and early Christian theology respectively, but who does far better on this solid German ground.

''Rosa" opens with order restored to Berlin and everyday murder back in the headlines. Well, not quite everyday. The bodies of four women, with identical patterns carved into their flesh, have turned up across the city. Hoffner's investigation of the crimes suddenly attracts the interest of the political police, and when he is shown the latest victim -- Rosa -- he understands why.

Never mind that clues lead predictably to a demented serial killer or that Hoffner's sidekick is the stock innocent, his wife the stock martyr, his mistress the flinty survivor. Besides Rosa, who emerges in quotes from letters and journals, Berlin is the chief character here, and Rabb artfully delineates the city as it emerges from war, defeat, and revolution into the shadow of nascent state terror.

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