They are the most valuable coins on earth . . .
Only a handful still exist, each one worth millions . . .
Now they have vanished from an impenetrable
fortress . . . and the killings have begun.
Somehow, impossibly, someone has invaded Fort Knox and stolen five of the world's last remaining Double Eagles -- the $20 gold coin ordered destroyed by President Roosevelt during the Great Depression. Now, one has resurfaced during an autopsy in France -- in the stomach of a murdered priest.
Disgraced FBI agent Jennifer Browne needs to recover the priceless coins to resuscitate her stalled career -- and her investigation is pointing her toward Tom Kirk, a brilliant international art thief who wants to get out of the game. But Kirk's only chance for freedom -- and survival -- is to find the missing coins, joining Browne, an unlikely ally, on a breakneck race across the globe and into the lethal heart of a shocking conspiracy of greed and power . . . and death.
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Maybe it is the slightly romanticised view of the art thief, who uses guile and ingenuity rather than force, to ply his trade. Or perhaps the beautiful objects they steal somehow suggests that an art thief must be cultured and erudite compared to those who steal more mundane objects, such as cars and wallets.
In my opinion, however, the real reason for people’s fascination with art theft and the inspiration for The Double Eagle, lies with the inescapable paradox that led me to write The Double Eagle in the first place. How is it that works that through their soul-searching inspiration, genius and flawless execution elevate their creators close to the divine, bring out everything that is most base in human nature – envy, theft, murder, betrayal and greed?
In that sense, at least, great art is positioned at the heart of man’s age old struggle between the forces of light and darkness. And you don’t need a painting to tell you that that’s the greatest story of them all!
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