We gave it an A
The rules of literary attraction are clear: Characters who start out as antagonists will almost certainly end up as lovers. So when a roguish private-practice attorney (male) is reluctantly paired with a no-nonsense FBI agent (female) in Scott Turow’s masterful new novel, we can safely predict the affair to come from their initial barbs. Except that nothing that looks certain to happen in Personal Injuries ever quite does.
It’s the early 1990s. Stan Sennett, a rigid, zero-tolerance United States attorney (think Ken Starr without the spooky fixed smile and carton of coffee) devises a complex sting operation intended to root out influence peddling among the local judiciary.
The success of the entire scheme depends upon Robbie Feaver (FAY-ver), a cornered lawyer who either cooperates or does time in the federal pen. For more than a decade, Robbie has been paying bribes to judges, but now he’s busted — guaranteed to lose his license, practice, income, and reputation. However, Sennett has offered Robbie a deal that allows him to keep his freedom, of primary concern since Robbie’s wife has been stricken with Lou Gehrig’s disease. He agrees to finger the judges — to entrap them and their bagmen — one by one, on tape.
To make sure the unreliable Robbie doesn’t pull any fast ones on his government handlers, federal agent Evon Miller (an alias) joins Robbie’s law firm as a paralegal with instructions to never leave his side. And if everybody at the firm suspects Evon is the notoriously unfaithful Robbie’s latest girlfriend, no problem.
The novel is narrated by George Mason, Robbie’s legal counsel and a longtime friend of Sennett’s. ”This is a lawyer’s story,” Mason tells us, ”the kind attorneys like to hear and tell. About a case. About a client.” While occasionally cumbersome (some of the best scenes are reconstructions built from Mason’s ”conjecture and inference”), the device works neatly overall, rendering a highly charged story with dispassionate restraint.
Unlike so many of his fellow best-selling novelists, Turow hasn’t compromised himself by churning out a novel a year, each one shallower than the last. With lawyerly shrewdness and planning, his books arrive on a regular three-year schedule. The extra care taken shows, too, in every paragraph, as well as in the perfectly staged plot twists. Legal fiction has turned depressingly formulaic and melodramatic lately, but Scott Turow’s just gets richer and smarter. Funnier, too. ”Personal Injuries” is the best work of his career.