The Resurrection of Jesus
A heist, a bandit, and a long road to redemption
Built around the still-unsolved art theft at Boston’s Isabella Stewart Gardner Museum, The Resurrection of Jesus braids true-crime intrigue with a sweeping, mythic Western — and a sly religious theme that gathers steam from the very first page.
At its center is Jesus, a Mexican bandit, a fugitive, a bad hombre — and Hiram Johnny Walker Quicksilver, a drifter forged from the Blackfeet ranch hands and rodeo riders Williams knew on the reservation. Their worlds collide across a landscape rendered in English, Spanish, and Siksiká, the Blackfoot tongue, until the line between thief and redeemer begins to blur.
Four years in the making and honed across countless rewrites, the novel was pared to a taut 172 pages — every word chosen, tweaked, and tested until the characters became exactly who they needed to be.
What to expect
Williams’ most ambitious weave of history and invention: partially historical, gloriously embellished, and resurrected again and again until it sings.
