The Burden of Proof
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| The Burden of Proof | |||||||||||||||||||||||||||||
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The author of Presumed Innocent, one of the signature novels of the eighties, has written a dazzling, taut, utterly engrossing new book about a family and its deepest, most closely guarded secrets. Late one Spring afternoon, Alejandro "Sandy" Stern, the leading defense attorney in the midsized Midwestern city where he lives, comes home from a business trip to find that Clara, his wife of thirty years, has committed suicide. Readers of Presumed Innocent will remember Stern as the brilliant, elegant, and elusive lawyer who masterminded the defense of Rusty Sabich. Scott Turow's new novel probes the character of this fascinating and complex man and his troubled private world. Like many successful individuals, Stern has often seemed preoccupied and remote even to those closest to him. He is overwhelmed by Clara's death, and as he tries to come to terms with it, he is forced to confront all he truly does not know about his life, including his children. Even in his mourning, Stern is drawn back to the law as the defender of Dixon Hartnell, who is the target of an increasingly complex investigation by a federal grand jury. Stern's connections to Dixon, the immensely rich owner of a commodities futures brokerage and a wily financial gamesman, are long and involved. Dixon, who both fascinates and repels Stern, is the husbad of Stern's beloved sister, Sylvia, and he has employed Stern to keep him one step ahead of the law for decades. As Sandy seeks to unravel both the painful mystery of Clara's death and the tangled web of Dixon's financial wheeling and dealing, his whole world--marriage, family, career--is brought ynder the intense scrutiny that only a lawyer as persistent, perceptive, and honest as Stern can muster. The result is a novel of enormous emotional resonance, riveting suspense, and profound and devastating revelations. It confirms Scott Turow's place as one of our most compelling and convincing storytellers.
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| 06-26-08 | 3 | (NA) |
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Scott Turow knows how to bend the language to suit his purpose. He shapes it to create his characters. He peers into their minds, their foibles and weaknesses.
His narrative edges into the dark recesses of human sexuality, the arrogance and self-doubts of the lawyerly class and how it impinges on each of us. (Which of us hasn't lapsed into forbidden places and trembled before the might of The Law that kept us from it?) Turow packages it within the limits of The Law, even as he recognizes what a corrupt cesspool it is. His characters are flawed, just like the person on the street, people lurking and peering at each other. Yet there is a sameness to his characters: women lawyers flooded with venality, be they lesbian or libidinous heterosexuals. Furious women populate his narrative. His panting male suitors obligingly deliver the goods, even as they wallow in their pitiful shame, chippying on their sad, outraged wives, who find them pathetic. There are no men to be admired, especially the protagonists, no matter how lofty their claim to high-mindedeness. They squiggle around in the gutter. It's a lousy depiction of men. (Review Data Last Updated: 2008-11-30 09:40:09 EST)
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