by Benjamin Rachlin ‧ RELEASE DATE: Aug. 15, 2017
A sprawling, powerful, unsettling longitudinal account of an overdue legal movement.
A chilling story of wrongful conviction, focused on one man’s ordeal, and the growth of the movement to support actual innocence.
In his debut book, Rachlin ably manages a complex narrative. In 1988, when the author’s subject, Willie Grimes, was tried for a horrific sexual assault in North Carolina, “no one had any clue how often [somebody] was wrongfully convicted in America, or where, or how long he spent imprisoned.” Grimes was convicted based on a slipshod investigation and erroneous identification by an elderly, traumatized victim despite numerous witnesses to his alibi and nonviolent character. He began serving his life sentence in disbelief, eventually becoming a Jehovah’s Witness while always insisting upon his innocence. Rachlin alternates between this slow tale of Grimes’ unjust imprisonment (he would serve over 20 years) and the greater narrative of a growing consensus that protections against such convictions were inadequate. A commission was formed by several lawyers and one conservative judge who had come to realize that “wrongful conviction was a national problem…it ought to concern everyone.” This acknowledgement was partly due to the first cases of DNA exoneration, which shook the public’s trust in policing, but Rachlin particularly focuses on the determination of attorney Christine Mumma to expose the reality of wrongful conviction: “The doubts she felt now were not technicalities. It was ludicrous to think the courts couldn’t distinguish between basic guilt and innocence.” Mumma championed a law empowering the Innocence Inquiry Commission to hear wrongful conviction petitions, the first of its kind. Following an intensive investigation by the IIC into Grimes’ claim, which included discovery of concealed fingerprint evidence that pointed to the likely perpetrator, a well-known local criminal inexplicably excluded in the initial investigation, Grimes was cleared by the IIC judicial panel. Rachlin builds to this cinematic conclusion with empathetic, thorough (if sometimes gradually paced) prose and solid investigative detail.
A sprawling, powerful, unsettling longitudinal account of an overdue legal movement.Pub Date: Aug. 15, 2017
ISBN: 978-0-316-31149-6
Page Count: 400
Publisher: Little, Brown
Review Posted Online: May 30, 2017
Kirkus Reviews Issue: June 15, 2017
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by Howard Zinn ‧ RELEASE DATE: Jan. 1, 1979
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
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by Maya Angelou ‧ RELEASE DATE: Feb. 1, 1969
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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by Maya Angelou and illustrated by Steve Johnson and Lou Fancher
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