Read The Rescue Artist for Free Online Page B

cultures, just as countries do. In Charley Hill’s family—his father an American soldier, his mother an embodiment of glamour and English elegance—the favorite stories all sounded the same notes: war, heroes, romance, tragedy. Charley Hill drank deep from those heady waters. The catch is that he came to believe fervently in two utterly opposed ideas. On the one hand, Hill is a true-blue believer in heroes and villains and fighting for the good cause, no matter how hopeless the odds. He is, simultaneously, a deep-dyed cynic and skeptic who believes in his bones that the race is not to the swift but to the con man who paid off the official timer.
    In many ways, Hill is the world’s oldest Boy Scout. He would be
thrilled
to find a little old lady who needed help crossing the street. If he is walking in a park, he picks up discarded bags of potato chips and chucked-out beer cans, to throw away later. When any of his friends flies in to Heathrow, Hill will be waiting eagerly to greet them, no matter how ghastly the hour and how miserable the traffic he has fought through. He will be near the front of the crowd with a big grin plastered on his face and a bottle of water in his hands, in case the flight has left the new arrival a bit dry.
    It is perfectly possible, though, that come two o’clock the next morning, the same pampered friends will find themselves careening down the highway in Hill’s car at 100 miles an hour. Hill will be at the wheel, ignoring his friends’ pleas to slow down. If they grow truly frightened, so much the better.
    Such abrupt shifts are all the more striking because no one places a higher value on friendship than Hill. Photos of old pals hold places of honor on his refrigerator at home; he phones and visits and frets about chums from as far back as grade school. On the not-so-rare occasions when a college-age child of American friends washes up forlorn and homesick in London, Hill drops everything to swoop to the rescue. He doesn’t go in for long, soulful conversations—it is impossible to picture the words “Tell me all about it” passing his lips—but he has a knack for cobbling together outings and adventures that vaporize gloom and melancholy by their sheer intensity.
    A drawing that depicted Hill’s talents would reveal a strange and uneven landscape, with silvery skyscrapers next to vacant lots and abandoned warehouses. Though he is a gifted mimic, for example, he is hopeless at languages. His greatest asset is a daunting, and dauntingly haphazard, memory. Nearly anything can trigger a cascade of recollections, most likely with names and dates and a word-for-word quotation or two.
    Hill does not drone on, like some cocktail party bore. On the contrary, the mark of his conversation is that he dips in and out as the mood strikes him. Few others see the connections he does. Someone’s remark about present-day politics might move Hill to comment on George Washington’s record in the French and Indian Wars. An allusion to the latest celebrity trial might spur a recitation of a bit of doggerel on Oscar Wilde’s arrest (“Mr. Woilde, we’ve come for tew take yew /Where felons and criminalsdwell /We must ask yew tew leave with us quietly /For this is the Cadogan Hotel”).
    Hill’s aversions are as fervent as his obsessions. Order and precision are off-putting, history and art and geography enticing. Logic is a strait-jacket, and numbers are the friends of his sworn enemies, the bureaucrats. Hill is as unlikely to use a word like “percentage” or “average” as a minister would be to curse at the dinner table.
    Even the numbers that his fellow detectives use to gauge the scale of art crime rouse his wrath. “It’s all bullshit,” he complains. “People talk about these incredible figures, but all the figures you see are completely made up. Police statistics do not distinguish between something of artistic quality and a sodding ornament somebody won shooting in a