Surprisingly little has been written about the postwar Occupation of Germany by the US, UK, France, and USSR. Yet it was a crucial and colorful, one might say lurid, interval in recent history. Berlin, which is the setting of my novel, The Living and the Lost, was a latter day Wild West where drunken soldiers brawled; the desperate preyed on the unsuspecting; spies plied their trade; werewolves, as unrepentant Nazis were called, schemed to rise again; black markets peddled everything from drugs to sex; and forbidden fraternization between American G.Is and Frauleins was rampant. I did a great deal of research on the period and place. Here are five books that bring the world stunningly to life.
Deutschland by Margaret Bourke-White paints a raw and wrenching portrait of Germany in the immediate aftermath of the war. The photographs of the suffering and destruction are shocking. The first-hand observations are immediate, occasionally wry, and cover everything from the black market; the relative appeal of American, British, and French soldiers to German girls; and social dancing classes.
I’ve always been fascinated by art, not just the paintings themselves but their historical significance, the personalities behind the canvas, and the seemingly arbitrary value placed on one artist’s work versus another. Writing my latest novel, Hanging the Devil, was a chance to delve into the illicit side of the art world, where forgers and smugglers consort with organized crime. I’ve been an award-winning mystery author for more than a decade—this is my sixth novel—and the great thing about writing crime fiction is the chance to get lost in the research and learn something new, so writing this novel was a great excuse to visit museums, talk to experts, and plan a heist!
Rembrandt was incredibly prolific and well known in his lifetime, unlike so many artists whose fame only followed their deaths.
Both his reputation and the value of his paintings have continued to grow in the centuries since he died, so the combination of ubiquity and name recognition makes Rembrandt’s paintings particularly attractive to art thieves.
Quickly recognizable and easily appraised, a stolen Rembrandt is exactly the kind of black market currency professional criminals value most, whether using it for collateral during a deal, holding it for ransom until the museum pays, or selling it illicitly to a private collector.
One of the stolen masterpieces in my novel is a Rembrandt, so this book was invaluable in understanding the ambition and scope of modern art crimes. The problem of profiting off something that everyone knows is stolen turns out to be a minor challenge if you know the perfidious players working…
Art security expert Anthony M. Amore and award-winning investigative reporter Tom Mashberg reveal the actors behind the major Rembrandt heists in the last century. Through thefts around the world - from Stockholm to Boston - the authors track daring entries and escapes from the world's most renowned museums. There are robbers who coolly walk off with multimillion dollar paintings; self-styled art experts who fall in love with the Dutch master and desire to own his art at all costs; and international criminal masterminds who don't hesitate to resort to violence.
I was a teacher and a professor who showed generations of students how to find x, how to prove figure 1 was similar to figure 2, how to make a machine search through millions of bits of data for an answer. An inspiration for a story struck me one day early in retirement as I was daydreaming. I began to write and have never stopped. It turns out that “if-then” is not so different from “what if.” The first is more like destiny, the second like free will. One is science, the other is fiction. “What if” has led me into strange lands.
What is it? A first contact story. Sort of. They were aliens? Yeah, Russians. What are they like? Don’t know. They’re gone now. Did you find anything good? Lots and lots. What’s that? The God hypothesis. It allows you to have an unparalleled understanding of absolutely everything while knowing absolutely nothing. Can you show me something else? No. You gotta go yourself. Can I really go into the Zone? If you’re old enough. And brave enough. Is it dangerous? People don’t come back. Is it legal? No, but you can sneak in.
Red Schuhart is a stalker, one of those young rebels who are compelled, in spite of extreme danger, to venture illegally into the Zone to collect the mysterious artifacts that the alien visitors left scattered around. His life is dominated by the place and the thriving black market in the alien products. But when he and his friend Kirill go into the Zone together to pick up a “full empty,” something goes wrong. And the news he gets from his girlfriend upon his return makes it inevitable that he’ll keep going back to the Zone, again and again, until he…
As a suspense and thriller author in my own right since 2015, I have also read very many books that are much like the ones that I write. I am most comfortable here and I, too, like to write books with these crazy, think-outside-the-box types of twists when it comes to plotting. Honing my craft, as I am in the middle of five different book projects right now for future release, I am hoping to make a name for myself and become as memorable to my readers as my favorite authors are to me.
I am a longtime fan of Tess and her Rizzoli and Isles books, the firsts by her that I read some years ago. But I also really liked some of her standalone novels and The Bone Garden checked all my boxes for captivating, thriller, page-turning, edge-of-your-seat reading. To date, this remains of my very favorite books and I have re-read it a few times as a result.
Unknown bones, untold secrets, and unsolved crimes from the distant past cast ominous shadows on the present in the dazzling new thriller from New York Times bestselling author Tess Gerritsen.
Present day: Julia Hamill has made a horrifying discovery on the grounds of her new home in rural Massachusetts: a skull buried in the rocky soil–human, female, and, according to the trained eye of Boston medical examiner Maura Isles, scarred with the unmistakable marks of murder. But whoever this nameless woman was, and whatever befell her, is knowledge lost to another time.
I’ve always been fascinated by art, not just the paintings themselves but their historical significance, the personalities behind the canvas, and the seemingly arbitrary value placed on one artist’s work versus another. Writing my latest novel, Hanging the Devil, was a chance to delve into the illicit side of the art world, where forgers and smugglers consort with organized crime. I’ve been an award-winning mystery author for more than a decade—this is my sixth novel—and the great thing about writing crime fiction is the chance to get lost in the research and learn something new, so writing this novel was a great excuse to visit museums, talk to experts, and plan a heist!
The biggest unsolved art crime is the 1990 robbery of the Isabella Gardner Museum in Boston, during which two men disguised as policemen stole 13 works of art worth an estimated $500 million.
Not one of the stolen paintings has been recovered, and rumors about their whereabouts and the identity of the thieves continue to fuel investigations across the globe. This book is a rapid-fire read and a terrific crash course in the many challenges involved in tracing lost art, let alone ever catching the thieves.
When writing a mystery novel that opens with an audacious museum heist in the very first chapter, it’s probably a good idea to research the biggest museum robbery in history. The Gardner heist shocked the art world and revealed how many museums around the world have shockingly bad security protocols relative to most office buildings, let alone a bank, even though priceless art is…
Shortly after midnight on March 18, 1990, two men broke into the Isabella Stewart Gardner Museum in Boston and committed the largest art heist in history. They stole a dozen masterpieces, including one Vermeer, three Rembrandts, and five Degas. But after thousands of leads, hundreds of interviews, and a $5 million reward, not a single painting has been recovered. Worth as much as $500 million, the missing masterpieces have become the Holy Grail of the art world and their theft one of the nation's most extraordinary unsolved mysteries. Art detective Harold Smith worked the theft for years, and after his…
Looking at photographs after my father died, when still living in Spain, I reflected on what life had been like for young men of the WWII generation. This sparked the start of my Peter Cotton series. Living abroad for so long, having more than one language and culture, gives people dual perspective, a shifting identity, which is something that fascinates me—and makes Cotton ideal prey for recruiting as an intelligence agent. I also wanted to explore the complex factors in the shifting allegiances after WW2, when your allies were often your worst enemy. All these are themes that recur in the books chosen here.
Lawton and I both write novels about the post-WWII period and have had great conversations on author panels. The protagonist of Then We Take Berlin, Joe Wilderness, is something of a picaresque anti-hero. His mother died in a bomb attack, his abusive father basically abandoned him, so Joe survives as a petty thief, works the black market, and reads everything in his local library. Called up for National Service, his total lack of respect for rules lands him in military prison—and MI6 offers him a way out. So begins his career as a spy. Set in two timeframes, I particularly enjoyed Lawton’s portrayal of Wilderness’s chameleon-like powers of adaptation and his struggle to reconcile his private life, married to his boss’s daughter, and his undercover persona as a spy.
“A stylish spy thriller” of postwar Berlin—the first in a thrilling new series from the acclaimed author of the Inspector Troy Novels (TheNew York Times Book Review).
John Wilfrid Holderness—aka Joe Wilderness—was a young Cockney cardsharp surviving the London Blitz before he started crisscrossing war-torn Europe as an MI6 agent. With the war over, he’s become a “free-agent gumshoe” weathering Cold War fears and hard-luck times. But now he’s being drawn back into the secret ops business when an ex-CIA agent asks him to spearhead one last venture: smuggle a vulnerable woman out of East Berlin.
I firmly believe that everyone, especially teenage girls, should own their right to pick and choose. Life guarantees you’ll run across the opportunity to make “bad” decisions, but these are so much more fun to read about than a path that’s straight and narrow. Cultivating radical empathy for my fellow humans, even those I don’t agree with, is a passion that makes me a kinder person and a more nuanced writer. Plus, I like shouting at books as much as the next reader. It makes my cats come running, which makes them tired, which makes them sit and cuddle. Diabolical, indeed.
An absolute must-read for everyone who looks at villains and goes “I want their story.” Nita dices up monsters and sells their magical parts on the black market with her narcissist mother. And that’s just the beginning. The real conflict starts when mommy dearest brings her a body that’s still alive. This is a book with propulsive, edge-of-your-seat energy. Raw, gory, morally ambiguous, and every other unsettling box YA fantasy should check more often. It’s even got a Webtoon adaptation for visually-inclined readers.
"Twisty, grisly, genre-bending and immersive, Not Even Bones will grab you by the throat and drag you along as it gleefully tramples all of your expectations." —Sara Holland, New York Times best-selling author of Everless Dexter meets This Savage Song in this dark fantasy about a girl who sells magical body parts on the black market—until she’s betrayed.
Nita doesn’t murder supernatural beings and sell their body parts on the internet—her mother does that. Nita just dissects the bodies after they’ve been “acquired.” Until her mom brings home a live specimen and Nita decides she wants out; dissecting a scared…
I’ve been writing about cryptocurrency since 2015, and full-time since 2017. I’ve worked for the biggest crypto news site in the world, CoinDesk, but now I write about it every day for a more mainstream audience. Cryptocurrency fits at a nexus at the kind of things I’m drawn to: It’s technological, it’s economic and it freaks people out. Unlike a lot of people who write about crypto, I’ve actually played around with the stuff. I’m not an investor, but I have used it. Using it is really the only way anyone gets to the point of grokking it, and I grok the stuff.
I’ve never read a non-fiction book that felt so much like a novel as American Kingpin. The book absolutely bounds from event to event.
It presents a solid cast of law enforcement misfits who all get sucked into chasing down the people behind The Silk Road website that’s giving so many people access to illicit drugs, and it details all the quirky little mistakes that The Dread Pirate Roberts made on his way to getting arrested.
This is crucial to bitcoin history, like it or not, because The Silk Road was the first marketplace where there was real demand for paying in bitcoin.
This book isn’t going to really help anyone develop a deeper understanding of cryptocurrency, but it will help them understand something that’s endemic in the scene: ideologues who gets sucked into a way of thinking and take it much too far.
The unbelievable true story of the man who built a billion-dollar online drug empire from his bedroom - and almost got away with it.
In 2011, a twenty-six-year-old programmer named Ross Ulbricht launched the ultimate free market: the Silk Road, a clandestine Web site hosted on the Dark Web where anyone could trade anything - drugs, hacking software, forged passports, counterfeit cash, poisons - free of the government's watchful eye. While the federal government were undertaking an epic two-year manhunt for the site's elusive proprietor, the Silk Road quickly ballooned into a $1.2 billion enterprise.…
My areas of expertise are museum management and arts administration. More specifically, I study structures of arts organizations and how they are connected or disconnected to their communities and larger societies using the systems theory and concept of mutual causality. In the process, I point out where the systems (i.e., museums) become stagnant and find a leverage point to address that stagnation by bringing in new input and different ways of thinking about the culture and structure of the organization. In most of my research, I try to find blindspots of following or doing “what was just there (i.e., status quo)” instead of evaluating what it did and how it can be improved.
This book illustrates how difficult it is to break out of one’s social structure and status because of the stubbornness and injustice reflected in our larger, societal structure that is reproduced from generation to generation. This book is successful in that MacLeod demonstrates how social inequity and immobility based on race and poverty play out in real people’s lives over a lifetime and how difficult it is to break out of the “status quo” that keeps people disadvantaged and out of reach for opportunities for social mobility.
This classic text addresses one of the most important issues in modern social theory and policy: how social inequality is reproduced from one generation to the next. With the original 1987 publication of Ain't No Makin' It, Jay MacLeod brought us to the Clarendon Heights housing project where we met the 'Brothers' and the 'Hallway Hangers'. Their story of poverty, race, and defeatism moved readers and challenged ethnic stereotypes. MacLeod's return eight years later, and the resulting 1995 revision, revealed little improvement in the lives of these men as they struggled in the labor market and crime-ridden underground economy. The…
I am a professor of International Studies and a former museum curator. This combination provides me with a unique perspective not only on the inner workings of the art world, but the way that those practices map on to broader social, political, and economic transformations that occur as a result of globalization. This leads me, for example, to an assessment of how free-trade zones affect the art market. In past research, I have focused on colonialism and French art in the nineteenth century, so I am attuned to power imbalances between the center and the periphery and I am fascinated to see how these are shifting in the present.
This book tears the lid off the globalization conversation because, before this book, nobody had considered all of the ways that the tools of globalization, like transnational shipping and the geographical distribution of labor, could be used to commit international crimes.
According to the authors, globalization’s shadow hides in plain sight, whether we are discussing transnational Mexican cartels, the Dark Web, human trafficking through Eastern Europe, or wildlife smuggling.
One of the morals of this book is that there is always a dark side to success stories and also that the more we generate regulations to prevent unwanted activities, the more money someone is going to make by providing those services.
This collection of essays introduces the thriving illicit industries and activities within the global economy whose growth challenges traditional notions of wealth, power, and progress. Through essays contributed by leading experts and scholars, "Deviant Globalization" argues that far from being marginal, illicit activities are a fundamental part of globalization. Narcotrafficking, human trafficking, the organ trade, computer malware, transnational gangs are just as much artifacts of globalization as are CNN and McDonald's, free trade and capital mobility, accessible air travel and container shipping. In fact, almost every technology, process, and regulation that enables mainstream globalization is an enabler of deviant globalization.…
