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LAWYERS AND THE AMERICAN DREAM

Name: LAWYERS AND THE AMERICAN DREAM
Author: Stuart M. Speiser
ISBN: 0-87131-724-9

by Stuart M. Speiser ‧ RELEASE DATE: April 1, 1993

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In this age of lawyer-bashing, attorney/novelist Speiser (Superstock, 1982) offers an unusual—and shameless—paean to the plaintiff's bar—those lawyers who, in the author's view, fulfill the American Dream of righting wrongs while making themselves rich. Speiser begins by analyzing the law firm featured on L.A. Law, characterizing its attorneys as ``Equalizers''—lawyers who enrich themselves by representing underdog clients (Speiser draws a contrast between these entrepreneurs of equal justice and other types of attorneys, like civil-rights and some criminal-defense lawyers, who may do worthwhile public service but typically don't make a lot of money in the process). The author uses this pop paradigm as a framework for a series of fascinating stories- -dramatic tort cases in which individual victims of modest means achieved stunning victories against tycoons and huge corporations. He proudly recounts his own role as an Equalizer (many of the cases cited are his own), extolling punitive damages and other weapons of the plaintiff's lawyer and arguing that civil litigation enhances democracy, corporate responsibility, and even the economy. Speiser goes on to outline plans to make the civil-litigation system bigger, more accessible, and more lucrative. Predictably, he argues that Dan Quayle's plan to institute the English rule in American courts—the rule that the loser in a lawsuit pays for all costs (a regulation intended to deter litigation)—would be counterproductive and possibly even anti-American. Speiser concludes that democratic, market-oriented societies need a thriving plaintiff's bar, and he urges the development of this institution in other countries as well. Speiser tells some absorbing tales of success in court, but his reduction of the American Dream to a quest for riches is unworthy, and his self-serving tribute to the plaintiff's bar will have readers shaking their heads and smiling.

Pub Date: April 1, 1993

ISBN: 0-87131-724-9

Page Count: 430

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1993

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.