Great Gatsby, Noir Bar, Morning After

Nick Carraway as your trial witness. Sharman reading—aloud—at “Noir at the Bar.” Readers vote for the best “morning after” in film and painting. “Drinks I have Been Drinking.” And, music by The Pine Hill Haints.

Law

In Law360, my Lightfoot colleague Mary Parrish McCracken and I mash up American lit and white-collar trial practice to arrive at White Collar Archetypes: Molding Your ‘Great Gatsby’ Ally. From the introduction:

April marked the 100th anniversary of the publication of The Great Gatsby by F. Scott Fitzgerald. In the novel, we see the protagonist—Jay Gatsby—solely through the eyes of Nick Carraway, the narrator. Indeed, Nick’s role in the novel gave rise to “the Gatsby effect,” a shorthand description of any story where we see the main character only through the eyes of a minor character who is often also the narrator.

What does “the Gatsby effect” have to do with white-collar trials? In this article, we consider how Nick aligns with one of the archetypes from Vogler – an “ally,” albeit a sometimes reluctant one – and how this archetype may arise in white collar trials. In Vogler’s structure, the “ally” travels with the hero through the journey and serves multiple functions. Other examples of allies include the Knights of the Round Table, allies to King Arthur; Sancho Panza, ally to Don Quixote; and Dr. Watson, ally to Sherlock Holmes. 

Allies at trial can be found in unexpected witnesses, even where, like Nick, they are reluctant to testify or repelled by aspects of the client’s conduct. Further, at a white-collar trial, if the defendant cannot take the stand, the entire trial becomes a landscape for “the Gatsby effect.” It is only through our allies’ eyes that the jury can perceive the client meaningfully and can conclude, like Nick, that “Gatsby turned out alright in the end.”How do we successfully translate Nick Carraway and the Gatsby effect to the courtroom? There are five principles to keep in mind to ensure that your witness effectively performs the role of ally at trial.

The link is here. If you can’t get past the paywall, email me.

Crime Fiction

To write crime fiction and thrillers is cool. To read your work aloud is cooler. To do so with some of the best in the business is coolest. Last Saturday evening in Birmingham, beginning at 6:00 p.m. at The Red Cat Coffeehouse at Pepper Place (2901 2nd Avenue South), one heard heard from Brandi Bradley, J.H. Markert, Brandon Massey, Bobby Mathews, Haley Moon, Randy Moon, Kristyn Petras, Chris Swann, Billy Webster and me.

Film and Visual Art

The “morning after” arrives in different guises that depend on culture, era, and sensibility. Here is a poll consisting of two movies and one painting, presented in reverse chronological order. Vote NOW for your choice for the best “morning after” scene:

Drinks I Have Been Drinking

Yes, you can have a cocktail in a shot glass. The Ferrari is a 50-50 mix of Fernet-Branca and Campari. Obviously alluding to a vehicle, the name is actually a portmanteau—that’s French—from the two main ingredients: “Fer” from Fernet and “ari” from Campari. The drink is mildly famous as a “bartender’s handshake.” From personal experience, I can attest that it makes a fine “dressing drink,” especially if one is dressing in a hurry.

Music

I have been listening to the latest release from The Pine Hill Haints, Shattered Pieces of the TrueCross. It’s fascinating because it is so difficult to describe. Here is their label’s effort:

The collection of southern psychedelic tunes were recorded at the legendary Muscle Shoals Sound on Jackson Highway, captured and mixed by Ben Tanner, Grammy-winning producer/engineer and Single Lock co-founder.

The Haints have long represented a 21st century chapter in the Muscle Shoals music legacy, applying a DIY ethos to folk and blues traditions. Not unlike their Swamper forebears in the same studio, the Haints transcend their myriad influences to sculpt a sound of their own.

The album bears their signature sonic palette – washtub bass, snare drum (no bass drums allowed!), washboard, and the occasional singing saw – and combination of styles: Scotch Irish traditional music via Appalachia (“Ki Yi Woopi Ti Yay” and “Henry My Son”, classic country (“Honky Tonk and Dance With You”) and punk rock (“Svenghoolia”), plus a fresh take on the Grateful Dead song “Loser”.

For anyone who grew up in Alabama reading Thirteen Alabama Ghosts and Jeffrey by Katherine Tucker Wyndham, their 13 Ghosts has a special resonance.