Wednesday, February 12 @ 7 pm in Susman Room
This title is also available as an eBook on Hoopla.
Ulrich Boser has written for the New York Times, the Washington Post, Smithsonian magazine, Slate, and many other publications. He has served as a contributing editor at U.S. News and World Report and is the founding editor of The Open Case, a crime magazine and web community. He lives in Washington, D.C. Source.
1. What possessed Boser to take up where Harold Smith left off?
2. Boser has said that art theft is more mundane, far less glamorous, than Hollywood portrayals. What does he mean? What is he referring to?
3. Talk about Isabella Stewart Gardner. What kind of person is she? How did she go about collecting her masterworks? What motivates someone like Gardner to spend such an immense fortune on original art?
4. Describe the underworld that Boser penetrates in his search for clues. Talk about those who inhabit that murky world— Whitey Bluger, Slab Murphy, and Myles Connor. Who are more distrubing—the criminals or the hardnosed, often corrupt, law enforcers who pursue them?
5. Detectives sometimes turn to psychics and paranormals to help with a case, especially when they've hit wall. Can those individuals offer genuine help in solving crimes?
6. What new evidence does Boser bring to light? And what are his ultimate conclusions about who perpetrated the robbery? Does he build a convincing case?
7. Were you frustrated by the dead ends...and ultimately by Boser's inability to crack the case and recover the paintings? Or do you find invigorating the fact that the theft remains unsolved—one of those intriguing mysteries of life?
8. Talk about what the loss of some of the world's artistic masterpieces means. Do you find a $500 million theft of valuable art a despicable crime...or an intriguing mystery? How do you value that loss in the overall scheme of the world around you? (Cool question.)
9. Nearly 20 years have passed since the art heist at the Gardner museum. Do you think the case will ever be solved? Will the paintings ever be found?
10. If the paintings cannot be shown in public, even 50 years after the heist, for what purpose would someone buy them?