A journalist explores the quality of indigent defense 50 years after Gideon v. Wainwright mandated adequate counsel for any person charged with a felony.
Washington Post Magazine contributing writer Houppert (Home Fires Burning: Married to the Military—for Better or Worse, 2005, etc.) concedes that her book is an update on the nonfiction classic by Anthony Lewis, Gideon's Trumpet (1964). Houppert focuses on four defendants represented by appointed lawyers. One of those cases is that of Clarence Earl Gideon, who appealed for defense counsel despite his poverty after his 1961 arrest in Panama City, Fla. The other cases are more contemporary: teenager Sean Replogle in Spokane, Wash., after he was charged with vehicular homicide; Gregory Bright in New Orleans, where he was convicted of a 1975 murder he did not commit; and Rodney Young in Georgia, where he was sentenced to death despite his apparent mental retardation. Houppert demonstrates that most public defenders are dedicated lawyers but face severe disadvantages due to overwhelming case loads, inadequate budgets for expert witnesses and the like, as well as the nature of the criminal justice system, which often emphasizes the desirability of a plea bargain instead of taking a case to a full trial by judge or jury. While Lewis sounded optimistic about the development of high-quality defense representation for the indigent in the wake of the Supreme Court ruling, Houppert is more pessimistic. Her research shows that defendants are regularly being denied their legal right to a strong lawyer with enough time and resources to function at the highest level. After all, indigent defendants do not have an organized lobbying group to compete for meager local, state and federal government resources, especially in recessionary eras.
A well-researched and -written investigation that shows the inadequacies in stark human terms rather than as an abstraction.Pub Date: March 19, 2013
ISBN: 978-1-59558-869-2
Page Count: 288
Publisher: The New Press
Review Posted Online: Jan. 21, 2013
Kirkus Reviews Issue: Feb. 1, 2013
Categories: GENERAL NONFICTION
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BOOK REVIEW
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
Categories: GENERAL NONFICTION
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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)
Pub Date: May 1, 1995
ISBN: 0-19-508629-4
Page Count: 224
Publisher: Oxford Univ.
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: March 1, 1995
Categories: GENERAL NONFICTION
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