The goddess of justice is blind—and deaf and very often dumb—according to this savvy critique of the American legal system.
Moran, a lawyer, journalist and founding editor of The New York Jury Verdict Reporter, knows firsthand the problems that plague American jurisprudence, and isn’t afraid to point fingers. Topping his rogue’s gallery are “incompetent idiots” on the bench, including justices of the peace who don’t even need a high-school diploma to throw people in jail and trial judges who fall asleep during testimony. (And no, that won’t get your conviction overturned, Moran notes, unless you can prove the judge slept through something important.) Then there are the personal injury lawyers who cast about for deep pockets to sue no matter how dubious the liability, the attorneys who rake in millions from class-action suits that net their “clients” a few dollars each, the jurors—like Moran’s uncle—who base verdicts on off-the-wall theories instead of the evidence, the legislators who craft stupid laws and Supreme Court justices who uphold them based on tortured readings of the Interstate Commerce Clause. (Not always in contempt of court, Moran does allow that, often enough, judges are underpaid and conscientious, lawyers careful and upright and malpractice suits well-founded.) The author sets his indictment against a lucid outline of basic legal concepts and court procedures and nuanced discussions of everything from the propriety of electing judges to the mortgage-foreclosure robo-signing scandals. Moran writes in an entertaining, wised-up style, his punchy prose laced with black humor and an inexhaustible supply of anecdotes. His free-wheeling arguments shade from law into politics and beyond, as he enters a sweeping condemnation of a litigious society bound up in red tape because of liability fears, takes swipes at the New Deal regulatory state and even throws soup at snooty French waiters. It’s a bit over-stuffed, but Moran’s street-cred, irreverent wit and gift for translating legal arcana into laymen’s terms make for a persuasive brief. A lively, brash, illuminating insider’s look at the law, by a compelling expert witness.
Pub Date: July 16, 2011
ISBN: 978-1-463632700
Page Count: 276
Publisher: Coddington Press
Review Posted Online: Oct. 3, 2011
Kirkus Reviews Issue: Nov. 1, 2011
Review Program: Kirkus Indie
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
