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Bridge of Sighs

Bridge of Sighs

3.6 16
by Olen Steinhauer

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In this auspicious literary crime debut, an inexperienced homicide detective struggles amid the lawlessness of a post-WWII Eastern European city.

It's August, 1948, three years after the Russians "liberated" this small nation from German Occupation. But the Red Army still patrols the capital's rubble-strewn streets, and the ideals of the Revolution are but


In this auspicious literary crime debut, an inexperienced homicide detective struggles amid the lawlessness of a post-WWII Eastern European city.

It's August, 1948, three years after the Russians "liberated" this small nation from German Occupation. But the Red Army still patrols the capital's rubble-strewn streets, and the ideals of the Revolution are but memories. Twenty-two-year-old Detective Emil Brod, an eager young man who spent the war working on a fishing boat in Finland, finally gets his chance to serve his country, investigating murder for the People's Militia.

The victim in Emil's first case is a state songwriter, but the evidence seems to point toward a political motive. He would like to investigate further, but even in his naivete, he realizes that the police academy never prepared him for this peculiar post-war environment, in which his colleagues are suspicious or silent, where lawlessness and corruption are the rules of the city, and in which he's still expected to investigate a murder. He is truly on his own in this new, dangerous world.

The Bridge of Sighs launches a unique series of crime novels featuring a dynamic cast of characters in an ever-evolving landscape, the politically volatile terrain of Eastern Europe in the second half of the 20th century.

The Bridge of Sighs is a 2004 Edgar Award Nominee for Best First Novel.

Editorial Reviews

From the Publisher
“A novel of intense vitality... Lots of humor, lots of threads and an ever-deepening mystery that is unique and a fine start for a very promising new author.” —J. Robert Janes, author of Dollmaker
Publishers Weekly
Schmidtke's reading of Steinhauer's debut is rich with subtle nuance, but his portrayal of the actual characters' voices, which are rarely graced with anything resembling an Eastern European accent, may strike listeners as off-key. Set in a rubble-strewn, unnamed Eastern European country in 1948, this intrigue focuses on 22-year-old Emil Brod, a rookie homicide detective for the People's Militia who seems to be up against the world. His department thinks he is a spy, and treats him with utter scorn and malevolence. He is not even given a gun, and has to take public transportation for his investigations. However, not unlike an eastern Dirty Harry, Brod defies direct orders and continues his investigation of a murder, which ultimately leads him to one of the country's most powerful men. Schmidtke delivers the flirtatious lines of Brod's widow/love interest with a decidedly non-sexy, octogenarian breathiness, and his voice takes on a strange Sean Connery-like lilt for Brod's reluctant partner. However, the momentum Schmidtke builds through his performance overrides these peculiarities and renders this intrigue worthwhile. Simultaneous release with the St. Martin's Minotaur hardcover (Forecasts, Jan. 20). (Feb.) Copyright 2003 Reed Business Information.
Library Journal
Open with a young detective fresh out of the academy who is really concerned with his uncomfortable suit and new shoes; add not fitting in with his new coworkers, who despise him for unknown reasons; then throw in a murder/blackmail investigation of a famous songwriter that no one but our protagonist cares is ever solved, and you have The Bridge of Sighs. Steinhauer paints a rich picture that brings the listener into the grimy and often brutal world of rookie homicide inspector Emil Brod. The details that are provided about the supporting characters, including the unnamed war-torn city/country that serve as the background for this gritty early Cold War-era Eastern European intrigue, are what make this work stand out from the usual homicide detective tale. Everything that a listener could want is here: murder, political intrigue, blackmail, a love story, and a quality mystery, the first in a very promising series. Ned Schmidtke's narration provides a gripping reading that allows this novel to unfold steadily toward the exciting conclusion. The accents, which add an interesting dimension to the story, are not overdone. Recommended for all public and academic libraries.-Scott R. DiMarco, Herkimer Cty. Community Coll., NY Copyright 2003 Reed Business Information.
Kirkus Reviews
It's 1948, and Emil Brod, newly graduated from the police academy at 22, is posted as a homicide cop to the People's Militia-a department that's as dysfunctional as pretty much everything else in Emil's unnamed little war-torn country. Vanquished and vanished are the despised Germans, leaving behind them, however, "a nation of cripples." Still, young Emil, whose idealism remains surprisingly intact despite deprivation and occasional bouts of despair, is excited as he reports for work on that first day. He looks forward to the job, seeing in it a longed-for opportunity to serve community and country. Unfortunately, the good feeling is transitory. Not only is the department a grim, grungy, seemingly purposeless place, but there's an almost palpable animosity directed at Emil in particular. For reasons he can't grasp, he's an alien presence regarded with icy stares. When he finally gets an assignment, it's a high-profile case no one else wants since it's so clearly a potential career-breaker. A popular, politically connected songwriter has been murdered, face and skull crushed with a wrench, apartment ransacked. Burglars? Emil soon decides against this obvious scenario in favor of something darker and more complex. In the days that follow, he collects the answers to a variety of gnarly questions-the reason he was consigned to solitary; the truth behind a desperate and shameful conspiracy; and some useful things about his own untapped, unexpected capacity for courage, loyalty, and love. Time, place, and cast are all richly evoked in a well-written, often gripping debut.

Product Details

St. Martin's Press
Publication date:
Yalta Boulevard Quintet Series , #1
Edition description:
First Edition
Sales rank:
Product dimensions:
5.45(w) x 8.17(h) x 0.76(d)

Read an Excerpt


The greeting was in his desk, the center drawer: a piece of fish-stained cardboard with a clumsily drawn stick figure. It had a circular head and an X for each eye. A fat knife separated the head from its stick body. The speech balloon said, We're on to you.

His chair wobbled insecurely beneath him.

Emil inhaled slowly, evenly. He sat in the center of the large, stale-smelling office, between two columns, and on the far wall two high, open windows did nothing to freshen the air. His tight suit constricted him as he stared above the others' heads at the clock on the yellow wall. It was the dirty, pale yellow of Austro-Hungarian demise. He had been here only forty-five minutes.

It was Monday, the twenty-third of August, 1948, 9:17 A.M. He still had a whole day to go.

He couldn't match names to their faces yet, but why should that matter? Along the walls, three of the four homicide inspectors grinned at their wide, steel desks, suppressing laughter. They were all to blame. Through the windows, street noises spilled into the hot room: clopping hooves, shouts, the occasional motor car.

His grandmother had starched his suit into a hard crust to celebrate his first day in the People's Militia. He wanted to run his finger between his collar and neck, but knew how it would look.

His exhale finally came.

The fourth inspector wasn't grinning: the stout one at the corner desk with the wide, flat, familiar-looking peasant's face. Despite the heat wave, he lounged in the leather overcoat of state security. By law, one security inspector was assigned to each Militia department, but no law ordered them to dress like that, like the Russian secret police. Yet they all did. And like their MVD counterparts, they never laughed. This one stared at Emil with the intensity of a scientist waiting for a nerve-provoked response.

In the opposite corner, beside the windows, the largest of them banged slowly at a typewriter. He was a neckless lump of clay with tin rings constricting his thick fingers. The sound of striking keys filled the room.

Emil had spoken to them once when he arrived. A twenty-two-year-old in a stiff suit with a stupid, bashful grin marking his pale features, a blond schoolboy among these dark veterans. "My name is Emil Brod, and this is my first day with Homicide."

A voice he could not put to a face had answered: "Desk's in the center."

Even then, they did not show him their eyes. But he was the only thing they were watching.

Emil settled his small hands on the desk.

At another time and place the sketched decapitation would have provoked violence. But now, here, he separated himself from the anger. He let the cardboard drop into his wastebasket, gingerly shifted the chair beneath himself, and opened the morning's Spark, which he had picked up on his way to work. There were grainy images of airplanes in the west, heavy American and British planes over Berlin. Words about remilitarization and effrontery spotted the pages, but he couldn't focus enough to read whole sentences. The typewriter continued snapping. The stuffy room grew hotter.

He had gone dutifully to the desk in the center of the room, just as the voice had commanded, and put down his hat and satchel. Then he rapped timidly on the door with CHIEF painted on the wood. A light curtain covered the dark window beside it. "When does Chief Moska arrive?"

It was an insignificant question, something he almost felt foolish asking, and their agreement was apparent by their silence. He returned to his desk. When he sat down his chair collapsed beneath him.

They had all laughed then, even the security inspector.

He sprang up. The chair was in pieces. The rope that bound its legs together had snapped, or been cut. Their amused faces turned back to their desks as he tied the chair together again with a fishing knot. It wobbled, but held. By the time he was finished, the laughter had been over a long time.

It was then that he had reached for the center drawer, if for no other reason than to look busy.

Maybe it was a joke. He didn't know. They had laughed, so perhaps there was nothing more to this than some gentle hazing. Like in the Academy, when they buried his papers in the middle of the firing range, or when he lay in the mud and they gave him one kick apiece. Certainly this was easier than that.

He set the newspaper aside. In one dusty corner was a brown porcelain heater for wintertime, as tall as a man, and along the walls three desks faced the center--faced him. The fourth desk, the state security inspector's, faced the wall.

He settled back into his creaking chair and affected a calm he didn't feel. He arranged the ink bottle on his desk and straightened the blotter, then placed his transfer papers--in triplicate, as required--along the edge. From his burlap satchel he brought out the cigars and the leather-bound notepad his grandfather had been able to unearth in the black market off Heroes' Square. If he focused on these little things he could make it.

The inspectors lounged at their desks, sweating, chewing dried pumpkin seeds, sometimes muttering into telephones, other times writing or smoking. The big one continued typing. Two of them--one scrawny and very dark, the other heavy and limping, spitting out flakes of pumpkin seed--met beside yellowed WANTED notices and joked quietly with one another. The sound of their laughter left small, cold spots in Emil's guts. They left the office together and returned smelling of clear alcohols. The fat one carried a fresh bag of tobacco with nicotine-yellowed fingers.

A man outside was shouting in Russian. Although the rowdy Russian soldiers that still occupied their small capital disturbed him as much as the next person, at that moment he wanted to be with them, under the sun, rather than in this dim, humid room with his own kind.

He stood without knowing why. Then, as he approached the massive typist, he knew. He would start with the largest, if only to instill faith in his courage. Emil rapped on the big man's desk beside an empty paper cup blackened by the morning's grounds. "Where do I get coffee around here?"

He stopped typing and looked at Emil's hand as though his finger were a cockroach. This close, the inspector's face was pocked and misshapen like a battlefield. "No coffee," he said flatly. He crushed the cup in his hand, then tossed it in his wastebasket.

Emil's collar tightened. He smiled involuntarily and stepped back to his desk. He could hear laughter somewhere. It was faint and distant beneath the hot buzzing of his blood. So was the glint of his polished shoes moving across the floor. He was a stiff clown among these wrinkled, dusty brutes. He remembered the Academy director's words: First District, Homicide. Desk's been open two years since some old poop named Sergei got himself shot after Liberation. They'll take anyone, Brod, why not you?

Why not, indeed.

The Spark was full of airplanes. It had been full of blockades and planes since June. Muddy newsprint airplanes on cheap, brittle pages, but they were clear enough. Allied airplanes over hills of rubble; airplanes over military convoys; airplanes over the hungry, defeated masses of a crushed Berlin, dropping parachutes with little boxes of food and chocolates and clothing. And--some reports said--guns.

The front page never changed, not even today. A part of him had expected to find the planes replaced by his own face--thin and pale, blond eyebrows almost invisible above his green eyes--beneath the headline: EMIL BROD MOVES INTO THE WORKING WORLD--NO MORE LESSONS FOR HIM! But there they still were, after weeks: airplanes: IMPERIAL UNDERHANDEDNESS IN BERLIN! Comrade Chairman Stalin called the institution of a new German currency a provocation. If the Allies had their way, a reborn, capitalist Germany would consume the workers of the world in fire. General Secretary Mihai, whose office was only a few streets away, reminded all citizens that their own country was small and young. It could easily be divided out of existence again by the republics around it. No one misunderstood his meaning. "Before the Great War, we were only a district of the Dual Monarchy--remember Versailles!" he told a reporter. "The others would claim we are theirs, but we are not pieces of the Ukraine and Czechoslovakia--we're neither Romania nor Hungary nor Poland! We are our own, indivisible nation!" Then: "Up with the Comrade Chairman!"

The second page listed upcoming trials. It was no longer like the days just after the Liberation, when the lists went on for many columns. But there were still some men and women accused of undermining the stability of their socialist state. There were a baker and three politicians and two tram drivers--which proved, according to a certain well-regarded Inspector Brano Sev, the democratic sensibility inherent in the instruments of criminal justice.

Around noon, he tried the smallest one. The wiry, dark inspector who sat beside the cold porcelain stove. He had a face that reminded Emil of the Jews who had appeared at the family dacha in Ruscova during the war. They had come in loose, hungry bands from over the Romanian border, muttering frantically about the Archangel Michael and their villages being burned to the ground. Their families, they said, had been chopped up by the Orthodox. This inspector had that same hungry, war-refugee look.

Emil spoke to him over the hand basins in the empty wash-room. His voice echoed unexpectedly against the tile walls. "How long does this go on?"

The inspector stopped splashing water over the back of his neck. He looked at Emil in the rusting mirror, hungry brow furrowing.

Beneath Emil's feet the decaying floor tiles wobbled. "The silence," he said, trying to make his voice sound light, conversational. "Is this what everyone goes through? I think I know how this works. Initiation?" He twisted his lips into a smile. "Or are you trying to scare me away?" He almost added jokingly that this situation hadn't come up in the Academy lessons, but thought better of it.

The inspector turned away, shook water off his hands and used a towel from a hook. His dark features gave away nothing, his eyes hard and small as he dried his neck. He gave Emil only a passing glance in the mirror as he hung up the towel again. Then he left. The creaking door echoed behind him.

They left the office singly and in pairs and did not return for hours. He assumed they were on cases. The Academy had taught two ways for a homicide inspector to receive a case. Either a switchboard operator sent a message to your telephone line, or the station chief emerged from his office and handed you one. All through the morning the phone on Emil's desk did not ring, and the chief was never in. He got coffee from a workers' café around the corner, returned, used the toilet twice, read the last pages of The Spark--all slowly, purposefully.

Around two o'clock, Chief Moska appeared in the doorway. He was another big man, in his fifties, who hiked up wrinkled, mud-spotted pants, rolled a cigarette in his lips, and took off his hat to mop damp, gray hair with a handkerchief. He stopped by desks and whispered to his men, and when they smiled Emil's stomach shriveled. These men were tight, had been for years. They had probably even fought the Germans together--side by side, without his help.

The chief stopped at Emil's desk and inclined his long, pale face. The smile was gone. He had the worn features of war veterans who believe they have witnessed everything this life could ever show them. "So you're the new one?" His voice was no longer a fraternal whisper; it was deep and swollen for all to hear.

"Yes, Comrade Chief Moska."

"Emil Brod from the Fourth District?"

"Fifth, Comrade Chief."

"Where did you serve in the Patriotic War?"

"I was too young, Com--"

"Too young my ass!" he bellowed. "You were born in 1926, which made you of age in--what?--1942, or at the latest '44." He eyeballed Emil's little hands on the desk. Emil removed them. "I have a neighbor who fought Germans when he was twelve. Remember who has your file, Brod."

Emil spoke with as much authority as he could muster. "What I meant to say was that when I came of age, I was not in the country. I was--"

"You were fishing in Finland!" the chief erupted, his sudden, broad smile revealing two holes where teeth should have been. "For little seals, no less!"

Their laughter was loud, bouncing off the walls.

"A Finnish company, yes," said Emil, recognizing a slight warble to his voice he hoped was only in his head. "But I hunted in the Arctic Circle."

For an instant he was out of this hot room and back in the icy north, among men so much more dangerous than these.

"You speak Russian, I hear."

"Yes. And German."

"A scholar," said the chief. "And now here you are, back at your mother's tit."

"In Homicide," Emil replied, his voice clearing up. "And I'm ready to work. Here are my transfer papers." He held out the folded pages.

The chief suddenly had the expression of a man about to retch. His nostrils, crisscrossed by a drinker's red tributaries, retracted. Then he stuffed the papers into his blazer pocket. "Well, Comrade Brod," he said through a heavy sigh, "don't make trouble. If you do that, trouble might stay away from you."

There were sprinkles of weak laughter from corners of the room Emil could not locate, because the blood pumping in his ears obscured their direction.

"I wouldn't consider it, Comrade Chief."

"And don't comrade me to death, Brod. Makes my skin crawl. Can you manage that simple task?"

"Yes, Chief."

They were all watching the exchange, their smiles fading in and out until the chief gave him one last miserable look, turned on his heel, and walked into his office. The door latched quietly.

Emil caught their amused faces as they turned away--the big typist, the refugee, the pumpkin-seed eater sweating in the back and the state security inspector with the peasant's features that clicked in Emil's skull, nagging at a memory that would not come.

First was the chair. Second, the drawing. Third was the homicide inspector with the face of a refugee who met him on the hot front steps at the end of that fruitless day. Down by the busy street, he smoked with some regular policemen standing in a semicircle around the head of a fly-nagged horse. Red-faced vendors sold wooden spoons and fabrics on the sidewalk, and a butcher hauled a bleating goose into his store. The policemen watched a pair of young women walk by, and hissed admiringly. When the embarrassed girls were no longer in sight, the inspector noticed Emil standing at the top of the steps. He patted the horse's nose, nodded at his friends, and began climbing toward him. The air was perfectly still.

Briefly, Emil felt a surge of the unreasonable hope that had buoyed him most of his life. It had brought him through the deaths of both his parents in the war and his months scraping out a living on the fishing boats of the frozen north. It had brought him through a brief love affair back here in the Capital, and the brutalities of the Academy. It had carried him all the way to these steps, where the concrete was remarkably bright after the gloom of the station. He sucked hot, wet air into his lungs, and blinked.


"Yes," said Emil, feeling the warmth of that hereditary hope. "Terzian, isn't it? Your name? Leonek Terzian?"

Leonek Terzian was two steps down, squinting up at him. "I wanted to tell you something," he said, his voice lacking anything Emil could call emotion.

"Of course."

Terzian glanced at the crowd of smokers, who were not watching, and as he turned back threw a small, hard fist into Emil's testicles.

There was the momentary shock as his body doubled over, just before the tide of gut-pain that ripped through his stomach, intestines, legs, then everywhere. The stink of horses overcame him as he dropped; the stone stairs dug into his ribs. He groaned; his eyes teared. He could smell the vodka but could hardly hear Terzian's voice through the watery pain: "You don't know me, understand? You don't know any of us."

Meet the Author

Olen Steinhauer's widely acclaimed Eastern European crime series, which he was inspired to write while on a Fulbright fellowship, is a two-time Edgar Award finalist and has been shortlisted for the Anthony, the Macavity, the Ellis Peters Historical Dagger, and the Barry awards. The series includes 36 Yalta Boulevard, The Confession, Liberation Movements, and Victory Square. Steinhauer is also the author of the bestselling Milo Weaver series, including The Nearest Exit and The Tourist. Raised in Virginia, Steinhauer lives with his family in Budapest, Hungary.

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Bridge of Sighs 3.6 out of 5 based on 0 ratings. 16 reviews.
bobbewig More than 1 year ago
The only positive for me from reading The Bridge Of Sighs, Olen Steinhauer's first novel, was to learn how much he improved as a writer and storyteller in his latest books, The Tourist and The Nearest Exit; both of which I thought were very good. In Steinhauer's attempt at a literary crime novel, the plot takes place in 1948, three years after the Russians liberated this small (not specified) Eastern European nation from German occupation. However, the Red Army still patrols the capital's rubble-strewn streets, and the ideals of the Revolution are but memories. In this environment, a young, inexperienced homicide detective, who spent the war years working on a fishing boat in Finland, finally gets his chance to serve his country working for the People's Militia by investigating the murder of a state songwriter. Based on my strong enjoyment of Steinhauer's The Tourist and The Nearest Exit, I was anticipating liking this book as well. Unfortunately, although I forced myself to finish The Bridge Of Sighs, I disliked it a lot. Steinhauer did moderately well in creating a rich sense of atmosphere but the book was disappointing in all other elements I look for in a good novel. The plot was weak, unoriginal and boring for the most part, the characters were uninteresting, unlikable and lacked dimension, and the book lacked a sustainable level of action and excitement. Suffice it to say that I'm glad I read Steinhauer's last two books before reading The Bridge Of Sighs because I might not have ever read these two books if I read The Bridge Of Sighs first.
Guest More than 1 year ago
In 1948, the aftermath of WW II remains on every street in this tiny eastern bloc nation shrouded behind an Iron Curtain. Though Communist and Russian controlled, murder remains a crime so twenty-two years old Emil Brod is proud when the State selects him to become a rookie homicide inspector. However his comrades, his chief comrade, and the security inspector treat him like a pariah because he safely ¿hid¿ in Finland rather than fighting the Nazis. After a few days of the silent treatment with only filing for work, Emil¿s boss Chief Moska assigns him to investigate the murder of state songwriter Janos Crowder. Excited, Emil looks around the crime scene and interviews the apartment supervisor Tudor who found the body. Emil realizes the case has top-level connections so Moska assigned it to him to get rid of the newcomer. Later, Moska informs him that Tudor has also been killed. Now partnered with a veteran cop, who punched him in the testicles on his first day, Emil continues to make inquiries knowing that this could be his last investigation. THE BRIDGE OF SIGHS is a robust historical police procedural that vividly brings to life Eastern Europe in the early Soviet days. The story line contains a strong investigation that alone will hook the audience, but the ensemble cast especially the detectives turn this mystery into a triumph that fans will want to read. Readers will anticipate Olen Steinhauer¿s second novel in what appears will prove to be one of the better cop series of this decade. Harriet Klausner
Guest More than 1 year ago
There¿s already a couple of plot summaries here so I won¿t add to the pile, except to say that THE BRIDGE OF SIGHS succeeds brilliantly in presenting a bold new take in a genre in which we thought we¿d seen all it could offer. Fans of the pinnacle works of John LeCarre and Graham Greene should take note of Steinhauer. THE BRIDGE OF SIGHS evokes a deep understanding of the cold, bitter world behind the iron curtain, but with a modern sensibility of encroaching history soon to pass. I found myself unable to put this book down. With its taut, lean storytelling, complex characters and dark, foreboding atmosphere, the book begs to be made into a film ¿ hopefully one that doesn¿t diminish the book¿s strengths, as this novel promises to be the first in a vital new series. I await the next instalment with great anticipation. Jake Steele
Anonymous 4 months ago
Olen Steinhauer is an amazing talent. This book grabbed me from the beginning and did not let go. I was so sorry to read the last page. If you like Philip Kerr or Joseph Kanon you will love Mr. Steinhauer. What a great talent. So glad I found his writing!
Anonymous More than 1 year ago
Thoroughly enjoyed this unconventional detective story. A lot of poignant historical reference kept it real and interesting.
Brodk More than 1 year ago
A very good debut novel and beginning of a series about a policeman in Eastern Europe (the country is never exactly specified) and the stress of working in an environment of distrust, scarcity, and political maneuvering. The protagonist is a new graduate of the police academy who is assigned to a station where his colleagues do not interact with him at all, save for a few times when they either have to or want to bully him. His first case turns out to be political and not random as it first appeared to be. How he solves it, and his growth and maturity in the process, are gripping. Recommended.
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My hope is that the author, his editor or his publisher will see why someone would give an excellent author one star. The answer is that I am grading the egregious typographical errors in the book. Barnes & Noble claims this is the publisher’s fault. While this may be true, they still have no qualms in taking your money. If this were a hardbound book you could get your money back. With a shoddy ebook you are stuck with a poor reading experience and a book in your collection that you would never want to read again. St. Martin’s Press/Minotaur and Macmillan Publishers should be embarrassed.
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