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Do not buy if the “Mystery Thriller” books you listen to must be plot driven and contain action cliff-hangers.
Read this for the characters and their development.
Publishers Weekly says it better than I can.
“Turow has always been more interested in character than plot, and in Robbie Feaver, a lawyer on the make who ends up fighting for his life, he has created his richest and most compelling figure yet.
….for Feaver is a character of almost Shakespearean contradictions. A charming, brash womanizer who nevertheless shows superhuman reserves of love and patience to his dying wife at home, he is always several jumps ahead of the prosecutors, the FBI and the reader, winning sympathy, even admiration, where there should be none.”
Read the Publisher’s summary for the plot.
10 of 12 people found this review helpful
I consider myself a Scott Turow fan. I have read all his books available on Audible and several in hard copy, never with less than overall appreciation for his ability to draw the reader into his narrative and his skill as a writer. Until now. I feel both puzzled and disappointed by Personal Injuries. Several reviewers have described the plot as boring, presumably because it moves along very slowly, frequently punctuated by digressive descriptions of minor characters and descriptive details of settings, clothing etc. It is, in short, more "literary" than the typical crime procedural mystery. My criticisms are more specific and do not take the author to task for writing a book that departs from my general expectations. I would argue that the books fails in ways that transcend genre. For example, the tensions between Robbie, the protagonist anti-hero sleazeball lawyer, and Evon, the constipated FBI agent assigned to undercover duty in Robbie's office, are artificial, tortured, and ultimately the stuff of television soap opera. Throwing in Robbie's wife dying a slow, painful death from ALS over the span of the story only reinforces this unfortunate impression. The cast of corrupt cops and judges comes across as more caricature than credible. Even poor Sandy Stern, the stately Argentine-American attorney from earlier Turow novels, is dragged in toward the end for a cameo appearance. In desperation perhaps, to lend some credibility? Finally one point that some might regard as nitpicking: the story is told in the person by George. George wafts in and out of the storyline, sometimes omniscient (or nearly so) and other times a relatively uninteresting and incurious observer of events. Turow attempts some unconvincing justification of how George could be cognizant of virtually all the things that are going on in the lives and thoughts of the other characters but it just doesn't fly. Creative writing technique aside, it is never a good thing when the reader is distracted by wondering who is narrating and why. Note: After I wrote this review I did a little research and learned that Time magazine named Personal Injuries as the Best Fiction Novel of 1999. I am left wondering who was on the jury and if they actually read the book.
5 of 6 people found this review helpful