This starts out as a wonderful novel from 2013. It begins with the family tensions that arose in 1982, when Paul Gianis tried to save his twin, Cass Gianis, from marrying the provocative and beautiful Dita Kronon. Then it jumps to 2008 and takes on a political flavor, as Paul decides to run for mayor.
So I settled in to read a wonderful novel, even literature, as author Turow introduces these two Greek families. And it soon becomes apparent that what occurred in 1982 between the Gianis and the Kronons has major repercussions in 2008. Of the two families, there is the wealthy entrepreneur Zeus (Zisis) Kronon and his son Hal (Herakles) and daughter Dita (Aphrodite). And from the Gianis family, there are the twins, Paul, a lawyer and leader of the state senate, and Cass, and their mother, Lidia. Turow presents these families in considerable richness and depth, with their present reflecting the past and their past influencing the future.
To help convey the link between the past events and current relationships, Turow has made two decisions. First, he has scattered through his novel, step by step, details of the violent scene in 1982 in which Dita Kronon was killed. Each step in the series appears in an italic sans-serif type, and each anticipates the knowledge that two detectives, retired cop Tim Brodie and ex-FBI agent Evon Miller, will encounter when learning in 2008 about what happened in 1982.
Turow’s second decision was to explore the truth of Dita’s death through those two detectives. Evon now heads security for the Kronon family business, which son Hal now runs; and Hal has directed her to prove that Paul Gianis was involved in the killing of his sister. For that killing, Cass Gianis pled guilty, has served his sentence, and is now eligible to be released from jail. By his strategy, it is clear that Hal wishes to scuttle Paul’s run for mayor.
However, I would have preferred Turow convey this story through the Gianis family itself, especially through such an interesting person as Paul. Except…he couldn’t have done that, because of the surprises he has in store for the reader about the past relationships between the two families. (Paul already knows them.) And the result is that as we move into the novel, the story, unfortunately, becomes more about the revelation of those surprises—as they are timed to coincide with the detective’s and the reader’s gradual understanding of what led to Dita’s death. We therefore move away from the mayoral race and the political texture—and, more significantly, away from the complex family relationships—that would have enriched this novel.
Which means that for me this potential literary novel about family and politics has lowered itself to the level of a crime novel. It has also left the intimacy of the two families to concentrate on the perspectives of two outsiders. The author does make an effort to enrich both Tim and Evon, but they are loners and not especially interesting. Tim is an elderly widower of about 80 who continuously mourns his dead wife, and Evon is a lesbian of 50 who is trying to flee her clinging lover Heather. A lack of tension between these two detectives also serves to flatten their characters.
The heart of this crime novel lies in the title, with the significant action revolving around the identical twins, Paul and Cass. Yes, Cass has confessed and gone to jail for the crime. But was he truly guilty? And, if not, why did he confess? Could it be Paul who was guilty? Or Lidia? Whose blood was actually found on the scene? Or could the killer be someone else?
We learn a lot about DNA, blood samples, fingerprints, and plastic surgery—subjects, note, that belong more to crime novels than to literature. Turow also leaves aside the issue of justice, why and how a possibly innocent man was convicted of murder. (And, until late, why he confessed.) Instead, the emphasis is on whether or not he is guilty, not on the injustice if he is not—which certainly should be an emphasis for an author with literary ambitions.
Turow acknowledges in an Afterward that identical twins were born into his own family (although one died at birth), and the idea of such twins has always fascinated him, especially the love relationship that develops between them. And certainly here he has explored that relationship, what each twin will do for the other. But when he explores it within the context of a crime, rather than its overall effect on family relationships, he has for me lowered his literary sights.
Yes, the author has tried to dress up the relationship by creating two Greek families and recalling the legend of Castor (Cass) and Pollux (Paul), and how the two were conceived. He claims that he has embroidered their legendary fate to create his story here; but it comes across to me as window-dressing to enrich the identical twin theme—albeit provocative window-dressing when you realize the Greek legend. But the result is that the intricacy of the crime’s solution is overwhelmed by this identical twin theme and the self-sacrifice it entails.
And we, in turn, are less involved in the solution to Dita’s murder than in the decision of the twins as a result of their love relationship. Indeed, that decision has very little to do with the crime’s solution, which is the supposed point of this novel. On the other hand, the twin’s love and support of each other does not bring one back to the complex family relationship. Rather, it is a thing apart, from both the two families and the crime itself.
Turow knows how to establish complex family relationships and how to structure a slow revelation of those relationships, as well as how to explore the inside workings of our justice system, particularly in the courtroom. But here he has let the needs of a thriller overwhelm the stories of both families. One will, as a result, approach future Turow novels expecting entertainment rather than a deeper exploration of justice. And expect to witness the external repercussions of love, such as the self-sacrifices here, rather than explore its internal workings—of the pain, for example, felt by these characters for what they did. (January, 2017)
A LITERARY CAVALCADE 