Steve Anderson (1)

Late in 1944, the German Army pressed westward along the western front in a desperate attempt to break the Allied advance. The offensive would later come to be known as the Battle of the Bulge. While plenty of novels and movies have portrayed the American side of the struggle in Belgium's Ardennes forest that winter, Steve Anderson's The Losing Role examines the story of a German soldier caught up in a cause he knows is lost.

Max Kaspar is an out-of-work actor drafted into the German Army to show more fight a war he doesn't have the stomach for. A former emigrant to America, Max's English speaking skills, not to mention his acting ability, lands him a part in Operation Greif, the brainchild of SS Colonel Otto Skorzeny. The plan is for English-speaking soldiers to sneak behind American lines and wreak as much havoc as possible to better the odds of Panzer divisions breaking through American lines. Max, however, has plans of his own.

Max has seen enough of the horrors of war to know that Germany is fooling itself if it can think it can win. The Russians are fueled by revenge on the Eastern Front and the Americans, well, there's no end to the resources at their disposal. It's Max's hope to use the cover of the operation to desert the Army and find passage back to America, where he can rejoin his family and renew his career. But any soldier can tell you that nothing ever goes as planned in war.

Anderson doesn't offer much hope for Max. It seems as if everyone has an ulterior motive and Max isn't sure who to trust, or for how long. Each encounter he faces could be the one where he gets caught or killed. Anderson deftly elevates the tension when Max stumbles over words, phrases or elements of American culture that any American would know. The story is told entirely from Max’s point of view but Anderson skillfully hints to the reader what other characters are up to through well placed conversational and body language clues that Max doesn’t always pick up on.

While it would be easy to root against Max simply because he’s a German soldier (our enemy at the time), Anderson sculpts Max as a likable guy, a victim of circumstance rather than a hero for Deutschland. Through a series of flashbacks, we learn of Max's struggle to fit in as an immigrant actor in America, forced to play German stereotypes. Disgruntled, he returns to a rejuvenated Germany where he finds success and love, at least until the bombs start to fall.

I would’ve liked to have seen more interaction with Max and his pre-war girlfriends on both sides of the Atlantic. While we got a good start with Lucy, Liselotte comes across as an ideal placed on a pedestal. We never really get to know her.

It's always refreshing to see a portrayal of a German soldier as something other than a mindless stormtrooper perpetuating Hitler's bloodlust for world domination. Max isn't a Nazi and he has no stomach for war. He's an actor who just wants to entertain his audience, but he's smart enough to know that those that speak out against the war effort disappear.

The setting is thoroughly researched, but Anderson uses it to bolster the credibility of the story rather than rehashing historical trivia. His masterful use of dialogue builds suspense every step of the way. The Losing Role is an excellent WW II espionage thriller that transcends the genre, making it a story that you don't have to be a history buff to enjoy. show less

World War II and the German false flag operation are historical facts, but Anderson takes poetic license with the details, introducing us to an imaginary German soldier known as Max Kaspar. His geniality and optimism seem out of place in the middle of a battlefield, and yet the author depicts him with just enough hardness to make his persona believable. When an impossible mission is set before him, it is easy to wish for his personal success and to cheer him on anxiously, even with an show more ever-present awareness of how the war finally ends.

The characters in this novel are well-drawn. While some personalities may touch upon stereotypes, the author adds enough minor detail and emotional range to make his creations human and accessible. Flashbacks into Max's past help the reader to understand his present mindset, and subtle nuances in the dialogue reveal more about motives and suspicions than the conversations appear to discuss. The author's attention to speech and word choice creates consistency and clearly distinguishes each character from the next. Even as Max slowly loses himself in his role, the reader never loses his handle on Max.

More often than not, The Losing Role plays fast and loose with the basic rules of grammar — and it works. The sentences, much like Max's thoughts, alternate between well-structured and half-formed, complex and simple. Sections of stream-of-consciousness writing allow us to access the protagonist's mind, while more formally written passages convince us that the author is in full command of his pen. The sprinkling of German adds authenticity, and the combination of Anderson's writing style and well-chosen descriptions gives us the sense that we are actually present in POW camps, icy woods, or an old, abandoned theater.

As an espionage thriller, The Losing Role succeeds in capturing and maintaining a reader's attention; the constant, underlying tension practically demands it. The pacing is outstanding, as are the explanations of "tells" that give the German spies away. War novels are not usually my genre of choice. Even so, Anderson's book renders that preference wholly irrelevant through wit, charm, and a well-crafted plot. I look forward to the next installment in this innovative series. show less

Steve Anderson’s new book is a post-WWII thriller set on the Big Island of Hawaii in 1948. Wendell Lett, war hero turned deserter, seeks treatment for combat trauma at an isolated facility called The Preserve. Instead of a cure for his jangled nerves, he finds himself caught up in an assassination plot that runs all the way to General Douglas MacArthur.

The Preserve is a first-rate historical thriller. It is fast, dark, complicated enough without being ridiculous, with characters and show more relationships you are interested in, and enough historic facts salted through the narrative to make you ponder long after the last page.

The Preserve is Anderson's second book featuring Wendell Lett, who first appeared in Under False Flags. They can be read as stand-alones, and are even better read back to back. show less

After the events in Liberated, Harry Kaspar has been relocated to Munich. As he enters the final weeks of service as an administrator for the military government, his life is good. He resides in a nice house with cushy amenities, has a former WAC girlfriend, and the locals appreciate his efforts to restore some semblance of pre-war normalcy. And then a cop shows up on his doorstep one night informing him that there's been an incident and his brother may be involved. Having not seen nor heard show more from his brother for several years, Harry's interest is piqued, though for a German-American, he knows this could be a scam, or worse. What follows is an investigation into a murder, black market sales of the spoils of war, and old scores that demand to be settled in blood.

There are elements of noir in this story. Harry's girlfriend has a bit of femme fatale to her which both excites and worries him. Meetings with informants take place in dark alleys and secluded rooms, forcing Harry to always be alert for the double cross. The atmosphere of downtrodden Munich is leaden with cold autumnal rain and early snow. And the American military government is seen through a lens of world weary cynicism.

She knew so many majors, colonels, and generals, all rearguard types who'd never seen combat but rode desks like gladiator chariots except their shields were their puffed-up chests done up with medals of every color, the swords their sharp tongues and stern memos, the feints and thrust their back-room whispers and leaks applied with extreme prejudice. Opponents cowered, colleagues awed, and mistresses swooned.

As with Liberated, Anderson has done the research. The deal that FDR and Churchhill made with Stalin in Yalta would soon turn out to be a Faustian bargain. I don't want to spoil it, but Anderson explores an aspect of that here as a way for the two brothers' paths to cross again.

Lost Kin is a strong finish to the Kaspar Brothers trilogy. The noir elements spice up the intriguing plot, and Anderson's characters are well-developed. I got caught up in their predicament as Anderson entwined their fates with historical events. I'd recommend the series as a whole for WW2 historical fiction fans looking for something different from that time period. show less