Born and raised in Ajmer, Rajasthan, crime fiction writer Vish Dhamija wrote his first book Nothing Lasts Forever in 2010. And then he took a break. He picked up his pen again in 2014 and hasn’t stopped ever since. Recently released The Heist Artist is his eighth crime fiction novel. Other than writing, his passions include classic cars, single malt whisky and music — jazz, rock and Kishore Kumar. He also collects scaled die-cast car models, enjoys travelling, vacationing on the seaside and trying various cuisines. Excerpts from an interview:
How did you work out the plot of The Heist Artist and the story around it?
The idea of an art heist came to me a couple of years back when I was at the Van Gogh Museum in Amsterdam. Art has been stolen since the beginning, and it is one of those high-value items sold even before they are stolen. You don’t steal a Van Gogh and put it on eBay. Either you know a buyer or a collector/ buyer/ middleman commissions you. Hence, the entire planning and heist neatly fit into The Heist Artist. A lot of research went into the painting and the getaway after the heist.
How different is The Heist Artist from your earlier works?
It’s a crime caper, which is different from a legal thriller or a whodunit that I’ve written in the past, and thus it’s a mix of adventure, thrill, protagonist’s audacity and ingenuity. The main characters carry out the heist in full view of the reader; the police chase, however brilliant, isn’t the main focus of the story. There is no mystery as such, and the story is the heist and the chase thereafter.
Do such conmen exist or are they figment of your creative imagination?
Of course, conmen exist. Natwarlal was one notorious Indian conman who repeatedly sold the Taj Mahal and the Red Fort. Charles Shobraj was another, although he is believed to be a psychopath too. Globally, there have been many — Wikipedia has a list of conmen since the 17th century. However, fiction writers frequently invent new ones too, to suit the narrative.
Why do you pen crime fiction only?
Since the beginning, that’s all I’ve ever read. Even our comics — from Phantom to Mandrake to Tintin were crime fiction in a way. So when it came to writing, it was a natural choice. In time, maybe I’ll pen something else, but for now it’s only crime fiction.
Your reaction on being referred to as the “master of crime and courtroom drama”?
Who doesn’t like a pat on the back? I feel humbled and pleased. It feels good to be noticed. However, I get as much flak from the media and readers. My response to such things generally is: you’re only as good as your last book. So I prefer to keep my focus on the future.