- Taschenbuch: 576 Seiten
- Verlag: MacMillan; Auflage: New Ed (20. Juni 2003)
- Sprache: Englisch
- ISBN-10: 0330411535
- ISBN-13: 978-0330411530
- Größe und/oder Gewicht: 13 x 3,5 x 19,7 cm
- Durchschnittliche Kundenbewertung: 6 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 1.188.243 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Reversible Errors (Englisch) Taschenbuch – 20. Juni 2003
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Arthur Raven, more versed in corporate law than criminal defense, is not eager to accept the court-appointed task of handling death-row inmate "Squirrel" Gandolph's last-minute appeal of his murder conviction. Fast approaching middle age, Arthur has come to terms with the burdens and disappointments of his life, among which are a schizophrenic sister for whom he is responsible and the realization that he will probably never make an enduring connection with a woman. But when evidence surfaces that might exonerate his client, he rises to the occasion with a quiet determination to see justice done. Facing a formidable prosecuting attorney and her former lover, the policeman whose testimony convinced Judge Gillian Sullivan to find Squirrel guilty, Arthur's persistence not only wins his client a temporary reprieve from execution but also endears him to Sullivan, who has fallen on hard times since Squirrel's trial--fresh out of prison herself for taking bribes, she is a most unlikely candidate for Arthur's affections. Scott Turow's masterful characterization of complex and multidimensional people catalyzed by events into searching reexamination of their own motives and ambitions is matched by the intricacies of his plot, which itself is well served by his insider's knowledge of the criminal justice system and his extraordinary understanding of the vagaries of the human heart. The prose is luminescent, the narrative compelling, and the moral implications of Arthur's personal and professional choices beautifully articulated. This is a tour de force for a novelist writing at the top of his game. --Jane Adams -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
“No one on the contemporary scene writes better myster-suspense novels than Scott Turow.” ―Bill Blum, Los Angeles Times Book Review
“When Scott Turow writes about a milieu, he knows whereof he speaks. You know he made it up, but you also know it's real.” ―George V. Higgins, Chicago Tribune
“Turow brings a literary sensibility to a grit-and-gravel genre: if he calls to mind any comparison, it's to John le Carre. His novels are shaped by [a] studied bleakness, an introspect's embrace of the gray-zone ambiguities of modern life.” ―Gail Caldwell, The Boston Sunday Globe
“Turow is the class act of legal thriller writers.” ―Publishers Weekly
“Turow moves skillfully between past and present, revealing tiny tidbits of fact, circumstance, and motive as he goes and leaving it up to the reader not only to construct the story's linear progression but to understand the significance of the book's title as both a legal entity within its plot and a personal reality for its characters.” ―Library Journal-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels. Alle Produktbeschreibungen
The criminal justice system isn't as neat and objective as television, movies and novels usually make it out to be. But naturally, most people who write about the system do so as nonparticipants. Mr. Turow writes from the vantage point of being both a top-flight lawyer, but also someone who works on death penalty appeals. It's clear that he writes from first-hand experience as to the poor defense work in many of these cases. I once helped defend a client who was accused of attempted murder. I came away from that experience feeling much like this book made me feel.
In Reversible Errors, Arthur Raven, an earnest corporate attorney, is appointed by the court to handle a death penalty appeal. Like most, he views this assignment as undesirable and likely to end in frustration. His client has been convicted based on his own confession to a gruesome triple murder. Arthur's a man who hasn't found love, and assumes that he never will. His commitment to the law does show his love of fulfilling his sense of duty. The central irony of this story is that he will have to choose between that love of duty and his chance for happiness with convicted felon, the former judge in the case, Gillian Sullivan. What would you choose in that situation?
The brilliantly plotted story shows how "neat" pictures of "who did what to whom" usually aren't so neat in reality. Arthur's hopes begin to rise, however, when a witness comes forward to exonerate his client, Rommy "Squirrel" Gandolph, a penny-ante fence whose intelligence and education make it hard for him to help with his own defense. The prosecutor, Muriel Wynn, has her own complex agenda that keeps her from making it easy for Arthur, though. In part, she's blinded by affection for Larry Starczek whose commitment to her leaves all defendants in jeopardy. They're an unattractive pair to read about, but undoing the harm they have created makes for riveting reading. It's not the usual "all prosecutors and cops" are bad story. Instead, the story shows that judges, prosecutors, cops and defense attorneys are flawed, vulnerable people like us all who can be easily drawn away from the messy reality of the truth . . . like why the defendant ended up with soiled pants.
If you don't like your stories realistic and graphic, you may not enjoy this book. Although the central theme is about our endless search for love and acceptance, Reversible Errors is certainly no classic love story. In fact, the romantic aspects are the least well written parts of the book.
After you finish this book, think about times when you've judged a situation incorrectly . . . and lived to regret what you've said and done. How could you have handled the situations better? How can you reverse the error now?
If you are convinced that you purchased a mystery, your conviction may need correction. There are bodies around, for sure, right in the beginning of the book. And somebody is in jail for doing the foul deed. But did he actually do it? Every 100 pages or so we get another character strongly pointing to yet another perpetrator. Those whose job it is to uphold the law sit by and let events pass them by. Nary a real investigation. And don't ever believe you could deduct the identity of the murderer by following the narrative. The whole thing is a surprise without the "I knew it" effect.
And if you believe that, at the very least, you have a novel with worthwhile characters and soaring language, forget about that, too. Besides the usual coupling 101, there is really nothing to get excited about. Except, maybe, sentences like "Everything else in life was just the feathers and hide on the foraging animal of love." Or a situation like "What flashed very briefly from Genevieve toward Arthur was raw enough to be hatred. It seemed out of character, but in that look of loathing she'd found his enduring vulnerability, and Arthur flapped a hand against his side." Lovely pictures like "Arthur's round sedan cruised to the curb", not to be outdone by "...the ripe turn of her behind, which he had always found the most becoming part of her anatomy".
The author is even versed in the latest slang:"I don't think I done said that to her. Nnn-uhh..... I think the onliest one I gone on to like that was the other dude. And ain nobody seed him in years". No wonder they keep the guy locked up.
Waste neither time nor money on this, unless you need a door stop.
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