Jeffery Deaver's Garden of Beasts introduces anti-hero Paul Schumann, a notorious rubout man for the New York Mafia known for his cold and professional approach to his job. But the jig is up when he is duped by high-ranking feds who give him a choice--prison or one more impossible job: assassinate the man who's running Hitler's plan for rearming Germany. The hard-nosed German-American lands on the streets of Berlin where immediately the best-laid plans of the United States Government go awry. Schumman finds himself in a city living in fear, tracked by Berlin's best homicide detective. As the intricate chase wears on, both men will discover that the greatest evil is the ascendant Nazi party.
Deaver's novel, equal parts noir thriller and historical extrapolation, is a page-turner that offers a twisting visceral experience of the tension in Berlin during that fateful summer. He draws sympathetic portraits of everyday Germans caught between duty to country and their consciences. Into this mix, Deaver drops his coldly dangerous hitman who brawls with brownshirts, chums with Olympic athletes, collaborates with criminals, fraternizes with poets, and discovers the hero inside his hardened soul. --Jeremy Pugh
When starting a new book by author Jeffery Deaver, expect to have the wool pulled over your eyes. His plots twist and turn and juke and jive like no others, never ending as expected and always including a jaw-dropping plot development. His latest effort, Garden of Beasts, is no exception. Amazon.com caught up with Deaver to discuss plotting, characters, and the perils of soap opera acting.
From Publishers Weekly
Deaver fans expect the unexpected from this prodigiously talented thriller writer, and the creator of the Lincoln Rhyme series and other memorable yarns (The Blue Nowhere, etc.) doesn't disappoint with his 19th novel, this time offering a deliciously twisty tale set in Nazi Berlin. The book's hero is a mob "button man," or hit man, Paul Schumann, who's nabbed in the act in New York City but given an alternative to the electric chair: to go to Berlin undercover as a journalist writing about the upcoming Olympics, in order to assassinate Col. Reinhard Ernst, the chief architect of Hitler's militarization, seen as a threat to American interests. A German spy onboard Paul's transatlantic liner grows suspicious and sends a warning to Germany before Paul discovers and kills him. Then in Berlin, Paul, en route to meet his contact, kills a second suspicious man who may be a storm trooper, setting Insp. Willi Kohl of the Berlin police, or Kripo, on his trail. Deaver weaves the three manhunts—Paul after his target, Kohl after Paul and the Nazi hierarchy after Paul—with a deft hand, bringing to frightening life the Berlin of 1936, a city on the brink of madness. Top Nazis, including Hitler, Himmler and Göring, make colorful cameos, but it's the smart, shaded-gray characterizations of the principals that anchor the exciting plot. An affecting love affair between Paul and his German landlady goes in surprising directions, as do the main plot lines, which move outside Berlin as heroes become villains and vice versa. This is prime Deaver, which means prime entertainment.
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