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At the mouth of the Elbe River, Magdeburg, Germany, is the focal point of this historical novel. It captures a snapshot of the Thirty Years' War that, more or less, created religious fault lines between the Protestants in the north and the Catholics in the south. While many of the cities struggled immensely during this period, Magdeburg thrived on the strength of its trade center and food storage. In this narrative, Aldinger adheres closely to the facts while integrating characters and plotlines that probe themes like the seven deadly sins of Roman Catholic theology.
Zooming into the day-to-day lives of Magdeburg citizens, the story revolves around a litany of characters, chiefly the intellectual burgher, Otto von Gericke, the fictional leader of the city, Martin Helwig, and the various people they encounter. Covering the war from 1630-1631, Aldinger depicts a chess match featuring Emperor Ferdinand and the Edict of Restitution, which required any Catholic properties—specifically church lands—seized by Protestants in the sixteenth century to be returned. Drawing the ire of the Holy Roman Emperor sets Magdeburg on a course to destruction that is directly juxtaposed to the more trivial concerns of its citizens throughout much of the novel—a case of dramatic irony unlike any other.
Interestingly, the seven deadly sins are featured in numerous ways and through various characters. From Albrecht von Wallenstein's endless greed and King Gustavus Adolphus of Sweden's desire to annex the places he conquers to the outspoken Thomas Ringer's anger and undoubtedly Emperor Ferdindand's vain pride, the author repeatedly brings evidence of the seven deadly sins to life. Outside of the political and strategic town hall conversations that take place between Christian William, Otto von Gericke, Thomas Ringer, Martin Helig, and others, the narrative adds a unique twist with the integration of another deadly sin: elicit sexual desire. Condemned vehemently, lesbianism, or Greek love, captures the underlying current of the narrative. Ringer's wife, Susannah, perhaps as an act of rebellion against Thomas' atrocities toward her, finds herself consumed by Lorelei. Their friends Margarethe and the stunning Isolde attempt to keep the couple's escapades under wraps, fully understanding that Lorelei and Susannah risk an almost certain death sentence if discovered.
Under the guise of religion, the author demonstrates the savagery of humanity that comes to the surface at the end of a war. This certainty gives credence to the animalistic and barbaric nature of mankind that is so primitive it ignores the idea of a church being a sanctuary when a city has fallen. Interestingly, Aldinger does an effective job of blending both the narrative of impending war and the inferno raging within the novel's women. Feminine sexuality and intellect are integrated into numerous scenes, most prominently in Otto and Isolde's meeting with the Swedish king to implore his assistance to protect Magdeburg.
More than anything else, Aldinger effectively portrays the political environment facilitated by the noble Christian William in Magdeburg, weaving in historical events like the Treaty of Barwalde. For the better part of the novel, there is an immense buildup and anticipation of whether the Swedish king will come to Magdeburg's aid as it withstands the battering from the Catholic League headed by Tilly and Pappenheim. Whether it is the famine or the despair, the invading soldiers see Magdeburg as a sign of everything it does not have, turning them into savages as Magdeburg is on its last legs. Aldinger's work is engaging, and the commentary on religion and reformation is historically consistent. The author's book is a meaningful way to learn about one of the most devastating tragedies and endless bloodshed that transformed a thriving, enterprising town into a funeral pyre.