Please give a warm welcome to author Claudia Riess, who stopped by today to tell us a bit more about her book False Light and her thoughts on writing. You can also read an excerpt and then enter a great giveaway at the end. Be sure to follow the tour for even more!
Describe your book in one sentence or fewer than 25 words.
Lives and loves are at stake in the sinister world of art crime as academic sleuths Erika Shawn and Harrison Wheatley tackle another brainteaser.
What was the inspiration behind this book?
I came across a brief account of master forger Eric Hebborn (1934-1996), and what I found irresistible was the combination of expertise and mischievousness. On his behalf, I had to invent a devilish challenge that would frustrate his contemporaries and cause havoc for my sleuths decades later.
What kind of research did you have to do for it?
First thing, of course, I read Hebborn’s colorful memoir, Drawn to Trouble, in order to learn all about his work, motivation, foibles. As I was outlining plot complexities, the Isabella Gardner Museum heist of 1990—what was stolen, what was the present status of the case, what were the most reliable clues to date—came under scrutiny. In the process, I looked into the establishment and duties of the FBI Art Theft Program, formed in 2005. To authenticate a few of the plot twists, I researched the collectors and institutions that Hebborn had—and might have had—dealings with.
Will we see these characters again?
Yes. Erika and Harrison continue to face their personal and professional challenges in Knight Light, the third in my art history mystery series published by Level Best Books. Its release date is scheduled for October 27, 2020.
What is your favorite part about writing?
Coming up with a sentence—or analogy, image, observation—that hits the spot.
What is your least favorite part about writing?
Torturing over a spate of tortured prose. However, having the courage to delete it provides a compensatory high.
Academic sleuths Erika Shawn, art magazine editor, and Harrison Wheatley, a more seasoned art history professor, set out to tackle a brain teaser. This time the couple—married since their encounter in Stolen Light, first in the series—attempt to crack the long un-deciphered code of art forger Eric Hebborn (1934-1996), which promises to reveal the whereabouts of a number of his brilliant Old Master counterfeits. (Hebborn, in real life, was a mischievous sort, who had a fascination with letters and a love-hate relationship with art authenticators. I felt compelled to devise a puzzler on his behalf!) After publication of his memoir, Drawn to Trouble, published in 1991, he encrypts two copies with clues to the treasure hunt. On each of the title pages, he pens a tantalizing explanatory letter. One copy he sends to an art expert; the second, he releases into general circulation. The catch: both books are needed to decipher the code.
When the books are at last united 25 years later, Erik and Harrison are enlisted to help unearth their hidden messages. But when several research aides are brutally murdered, the academic challenge leads to far darker mysteries in the clandestine world of art crime. As the couple navigate this sinister world, both their courage under fire and the stability of their relationship are tested.
Read an excerpt:
“You must try a crostini,” came a vaguely familiar voice from above. Harrison looked up, surprised to encounter the striking figure of Aldo Fabbri pressing forward a fair young tray-bearer, his hand at the small of her back. Harrison’s love fest with Florence was instantly tarnished. “Good to see you,” he said nevertheless, extending his hand to Aldo before plucking an hors d’oeuvre of bread and chicken liver pate from the waitress’s tray. “Come sit down,” he suggested with a near-genuine smile. “Certamente,” said Aldo. “But first we must request the wine—from the Fabbri vineyard, of course.” Aldo turned to the waitress. “Per favore, a bottle of the Chianti Classico riserva,” he slickly commanded, with a proprietary ogle. “As you might recall,” he said, turning back to Harrison, “it’s our signature wine, made from the Sangiovese grape. This year’s crop”—he glanced heavenward—“supremo!” With a nod, he dismissed the waitress, then pulled out a chair. “I didn’t see you at the conference,” Harrison said, trying not to recollect in vivid detail Aldo’s play for Erika’s affections at their encounter in Tuscany over a year ago. The seduction attempt had taken place when he and Erika had visited the Fabbri estate as part of their art recovery mission. Erika had not succumbed to Aldo’s efforts, but her moment of hesitation had caused Harrison great consternation. What a presumptive asshole! he silently hurled at himself. Erika had been in the initial stages of breaking free of her mistrust in men because of what she was beginning to see in Harrison, and he had not shown her the least bit of empathy in response. “The lecture hall was rather crowded,” he said, thrusting his attention to the subject at hand. “Perhaps you were hiding in the rear?” “Alas, I arrived too late to attend the talks,” Aldo said, smoothing back his coal black mane. He’s lost the golden highlights, Harrison realized. Gives the bastard a less flighty look. “However, I did hear your talk on Gericault was admirable—ah, here’s our wine,” Aldo noted, at the waitress’s approach. The wine was uncorked; the glasses filled; hearty samples downed; Harrison’s authentic praise begrudgingly delivered. “To a successful book tour!” Aldo sang, raising his glass. “Salute!” As they clicked glasses, Aldo cocked his head, as if at a sound in the distance. “I’m wondering. Whatever became of that woman you were with—Erika Shawn was her name, una donna molto bella e special! As I recall, a free spirit finding herself tethered to Puritanism, or merely conflicted by it. Either way, a pity.” “Tethered to me, if you must know,” Harrison said, as coolly as his clenched jaw would allow. “As my wife.” “Ah, lucky man to have tamed her!” Aldo looked about. “But where is she? Another toast is in order!” “Back home, in New York. Working.” “Yes?” Aldo gave him a bemused smile. “Quite a long tether, I’d say.”
Buy on Amazon
On sale for $0.99 during the tour!
Claudia Riess, a Vassar graduate, has worked in the editorial departments of The New Yorker and Holt, Rinehart, and Winston and has edited several art history monographs.
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Claudia Riess will be awarding a $50 Amazon or BN GC to a randomly drawn commenter via rafflecopter during the tour.a Rafflecopter giveaway