At the end of World War Two Erich Seyss, former SS officer and Olympic sprinter, known as 'The White Lion', is being held in an American POW camp awaiting a war crimes trial that he knows will see him hanged. Using all his ruthless skill as a trained killer, Seyss escapes, finding refuge with a shadowy organisation of former Nazis who plan to use his unique expertise in a breathtaking plot - a conspiracy that could change the destiny of Europe. Pursuing Seyss with furious determination is Devlin Judge, an American lawyer whose brother, an Amercian GI, was shot by Seyss in the last days of the war. With Seyss now on the loose, Devlin must find him at all costs - not only to avenge his brother, but to prevent a catastrophe of horrifying proportions.
Set against the backdrop of post-World War II Germany,
The Runner is the story of Devlin Judge, an ex-New York City detective turned lawyer on the hunt for Nazi SS soldier Erich Seyss, recently escaped from an American POW camp. Seyss, a former Olympic track star known as "The White Lion," is responsible for myriad heinous war crimes, including the murder of a platoon of unarmed American prisoners--one of whom was Judge's own brother. Initially a member of the International Legal Tribunal, set to try former Nazis for crimes against humanity, Judge begs for the opportunity to track Seyss down. With only a week in which to do so, his hunt for the cold-blooded killer leads Judge to a race not only for his own life but for the future of Europe itself. Judge is pursuing a killer, but he is also chasing the ghosts of guilt, having decided not to enlist in the hopes of advancing his legal career: "Erich Seyss was his confession and his penance, his expiation and absolution, all tucked into a black-and-silver uniform with a death's-head embroidered on its collar and his brother's blood on its cuff."
The Runner lacks the crackling tension of Numbered Account, Christopher Reich's first novel. Even the moments of crucial conflict, or of bloody disaster, seem wan and pallid. The novel is, paradoxically, handicapped by Reich's respect for historical detail: his interest in presenting the grim realities of postwar existence leads him into extensive descriptions of place and time that fail to merge with the story he spins. These "set pieces" stand awkwardly apart, like dour history professors coaxed into supervising the machinations of rambunctious students. Reich's general fidelity to detail also means that the moments in which he temporarily throws accuracy to the wind are painfully apparent: how on earth would Judge, a well-fed and well-dressed American, manage to look as if he belonged in a German work-group detail? And when would any three-star general ever tolerate the gum-cracking insouciance of Judge's driver Darren Honey, a sergeant with no regard for military hierarchy? Oddly enough, the authorial liberties Reich takes with General George Patton, saddling him with a megalomaniac's hatred of the Russians and a schemer's plot to redraw the boundaries of postwar Europe, are largely successful and add a welcome note of barely contained evil.
The Runner works best as a moving meditation on personal and social disjunction: Judge, Seyss, Patton, and the rest are desperately engaged in deciphering the proper place for prewar rules in the postwar chaos--and in confronting the uneasy suspicion that perhaps, after all, there is no place for them or for their beliefs. Judge must move past his easy assumption that the Allied victory was not "just a symbol of superior might but of superior morality": "Overnight, he'd become the hunted, not the hunter.... At some point during the last twenty-four hours, he'd crossed over an interior median into unknown waters. He'd abandoned the rigid structure of his previous life, renounced his worship of authority, and forsworn his devotion to rules and regulation. He'd tossed Hoyle to the wind, and he didn't care." --Kelly Flynn
