What inspired you to write a series set in New York during the 1920s?
I was inspired by the first professionally trained female Egyptologist in America. The brilliant and humble Caroline Ransom Williams served as assistant curator in the Met’s Egyptian department in the early years. I set my novel a little later than Caroline’s time so I could also take advantage of the Egyptomania sweeping the world after the discovery of King Tut’s tomb. From there, it was easy to imagine a series where the protagonists all work at revered institutions on Central Park. The second book will be about the American Museum of Natural History. The third book will be based on work for the New-York Historical Society.
Of all the things you learned about the Metropolitan Museum of Art while writing this book, what most surprised you?
The Met really has a fascinating history, full of many surprises. I especially enjoyed learning how the early pieces were acquired for the museum, and the drama and scandal surrounding either particular acquisitions or the funding for them.
How is this series different from others you have written?
This series is a change of pace from most of my previous novels. There is no war or natural or manmade disaster to deal with. The only other novel I’ve written without either of those was Shadows of the White City. In that sense, The Metropolitan Affair enjoys room to delve more deeply into character development while interacting with the vibrant historical context of Prohibition Manhattan.
What lessons do you hope readers gain from reading The Metropolitan Affair?
I hope readers pick up on many parallels to spiritual life that are tucked into this novel. One obvious theme is being able to identify something that’s counterfeit by studying the pure and genuine instead. But even more significant than any forgery analogy is the exploration of family relationships, our roles in those, and where the boundaries are.
