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Robbins demonstrates a mastery of his subject that should enthrall World War II buffs, and splendid moments are scattered liberally throughout the book, as when German cellist Lottie escapes a burning death by crawling through a narrow tunnel into the next bomb shelter, only to discover she's left behind her cherished, circa-1750 cello. Another is certainly when Roosevelt dreams of sledding in the moment before he is wheeled before Congress in his first public appearance in his wheelchair. Though the Churchill chapters routinely downplay that statesman's wit and shrewdness, gratifying moments of intense character study abound in Robbins's book.
By the time the Allied forces finally converge in Berlin, Robbins has given us enough information to appreciate both the extraordinary diplomatic maneuvers and their effects on ordinary citizens' lives. Robbins deliberately constructed The End of War along the lines of a Greek tragedy: "the gods discuss the affairs of man, then their Olympian intents are played out at human level." As a rule, the ordinary folks are more compelling and believable than the real historical figures. Perhaps this is because those figures are over-determined in the public imagination, whereas Lottie, the Russian soldier Ilya, and the American photographer Charley are rooted and credible--the sources of suspense in the novel.
Although the plot of The End of War converges neatly in Berlin, that unity of time and place does not tighten the loose macramé that knits Robbins's story together. Lottie and Ilya change in surprising ways during the ravages of war, however, and that character development gives the novel an epic feel. Fans of World War II will enjoy Robbins's fully realized world; fans of less specialized thrillers might enjoy the warmth and acuity of the assorted players. --Kathi Inman Berens
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