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The Broker

Barry Forshaw in The Independent

...combination of sheer story-telling nous and no-nonsense prose...but it's a cold eye Grisham casts on his country, and its president

Geoffrey Wansell in the Daily Mail

excellent twists... Grisham hasn't lost his touch

The Last Juror

Like many of John Grisham's better books, The Last Juror is at its best when evoking the past - Mississippi in the early 1970s - and less effective when constructing the bait-and-switch plotting with which he makes a pointed argument about the law. When Danny Padgitt (one of a family of bootleggers that is effectively a large criminal conspiracy) is convicted of rape and murder, the jury cannot agree on the death penalty - and life sentences in this time and place are liable to be as little as nine years. Padgitt threatens the jury and when, once he is out, the jurors who heard his case start being executed, conclusions are there to be jumped to.

Grisham is arguing that justice has to be seen to be done, rather than specifically for the death penalty or even life-means-life sentencing. Though his case is loaded, it is never entirely sentimentalised partly because these events are seen through the eyes of one of his most engaging narrators - a young northern-newspaper editor out to make a name and a fortune for himself, but also committed to the truth and a saintly African-American matriarch who serves on the Padgitt jury. This is a deeply populist book, but never a stupid one.

The Rainmaker

Rudy Taylor is a newly qualified lawyer: he has one case, and one case a lone, to save himself from his mounting debts. It is a bad faith case against a giant insurance company which could have saved a young mans life, but has instead refused to pay the claim until it is too late. The settlement could be worth millions of dollars, but there is one problem: Rudy has never argued a case in court before and he is up against the most expensive lawyers that money can buy.

The Partner

The man they were about to kidnap had not always been called Silva. As a lawyer - Patrick S. Lanigan - he had had a previous life which ended in a car crash in February 1992. Six weeks after his death, USD90 million disappeared from his law firm. It was then that his partners knew he was still alive.

The Testament

Troy Phelan, a 78-year-old eccentric and the 10th-richest man in America, is about to read his last will and testament, divvying up an estate worth $11 billion. Phelan's three ex-wives, thei r grasping offspring, a legion of lawyers, several psychiatrists and a plethora of sound technician s wait breathlessly. However, the magnate shocks everyone with a bizarre, last-gasp attempt to redi stribute the spoils, setting in motion a legal morality tale of a contested will, sin, and redemption.

Nate O'Riley - a washed-up, alcoholic lawyer with two ruined marriages in his wake and the taxman on his tail--is dispatched to the Brazilian wetlands in search of a mysterious heir named in the will . After a harrowing trip upriver, he encounters Rachel Lane, a pure-hearted missionary living with an indigenous tribe and carrying out "God's work." Rachel's grave dedication and kindness impress the jaded lawyer, so much so that a nasty bout of dengue fever leads him to a vision that could change his life.

Back in the States, the legal proceedings drag on and Grisham has a high time with Phelan's money-hungry descendents, a regrettable bunch who squandered millions, married strippers, got druggy, and befriended the Mob. The youngest son, Ramble, is a multi-pierced, tattoo-covered malcontent with big dreams for his rock band, the Demon Monkeys. Will Nate get straight with Rachel's aid? Do the greedy heirs get theirs? What's the real legacy of a lifetime's work? The Testament is classic Grisham: a down-and-out lawyer, a lot of money, an action-packed pursuit, and the highest issues at stake. It's not just about great characters; it's about the question of what character is.

The Street Lawyer

John Grisham is back with his latest courtroom conundrum, The Street Lawyer. This time the lord of legal thrillers dives deep into the world of the homeless, particularly their barely audible legal voice in a world dominated by large, all-powerful law firms. Our hero, Michael Brock, is on the fast track to partnership at Washington, D.C.'s premier law firm, Sweeny & Drake. His dream of one day raking in a million-plus a year is finally within reach. Nothing can stop him, not even 90-hour work weeks and a failing marriage--until he meets DeVon Hardy, a.k.a. "Mister," a Vietnam veteran with a grudge against his landlord--and a few lawyers to fry. Hardy, with no clear motive, takes Brock and eight of his colleagues hostage in a boardroom, demanding their tax returns and interrogating them with a conviction that would have put perpetrators of the Spanish Inquisition to shame. Hardy, a man of few words and a lot of ammunition, mumbles cryptically, "Who are the evictors?" as he points a .44 automatic within inches of Brock's face. The violent outcome of the hostage situation triggers an abrupt soul-searching for the young lawyer, and Hardy's mysterious question continues to haunt him. Brock learns that Hardy had been in and out of homeless shelters most of his life, but he had recently begun paying rent in a rundown building; that means he has legal recourse when a big money- making outfit such as Sweeny & Drake boots him with no warning. When Brock realizes that his profession caters to the morally challenged, he sets out on an aimless search through the dicey side of Washington, DC, ending up at the 14th Street Legal Clinic. The clinic's director, a gargantuan man named Mordecai Green, woos Brock to the clinic with a $90,000 cut in pay and the chance to redeem his soul. Brock takes it--and some of the story's credibility along with it; it's hard to believe that a Yale graduate who sacrificed everything--including his marriage--to succeed in the legal profession would quickly jump at the opportunity for low-paying, charitable work. However, Brock's search for corruption in the swanky upper echelons of Sweeny & Drake (via the toughest streets of Washington, DC) is filled with colourful characters and realistic, gritty descriptions. In The Street Lawyer, Grisham once again defends the voiceless and powerless. In the words of Mordecai Green, "That's justice, Michael. That's what street law is all about. Dignity."

The Pelican Brief

Late one night Abe Rosenberg, the Supreme Court's liberal legend, is gunned down in his own home. The same night, Myron Jensen, the court's youngest and most conservative justice, is strangled. What linked the two men and what caused their deaths? Darby Shaw thinks she knows the answer.

The Firm

Mitch qualified at Harvard, third in his class, and is sought by law firms all over America. The one that gets him is small, but well-respected, and pays him beyond his wildest dreams. But then the nightmares begin - secret files, bugs in the bedroom, colleagues' mysterious deaths and mob money.

Made into a film, this book follows the adventures of Mitch as the true nature of the too-good-to-be-true firm reveals itself. By the way, the book ends slightly differently from the film.

The Chamber

A thriller about a rookie lawyer defending a member of the Klu Klux Klan who has been on Death Row for 23 years and faces the gas chamber. The lawyer hates his client's racist views, but as the case develops, it appears that his client may be innocent.

A Time to Kill

A black girl is raped by two drunken rednecks. The town reacts with horror until the girl's father takes justice into his own hands. He kills the two whites on their way to jail. For days the nation sits spellbound as the defence lawyer struggles to save his client's life and then his own.

Another Grisham turned into a great movie.

The King of Torts

John Grisham's The King of Torts demonstrates that his narrative skills remain as impeccable as ever. Grisham knows exactly what he's doing when it comes to transfixing the reader. Within the high-powered milieu of the public defender's office in Washington DC, Grisham's protagonist is an ambitious young lawyer who finds himself saddled with what appears to be a nothing case: one of a wave of crack cocaine killings that are the bane of the capital. But as Clay Carter investigates, he finds that something more than a random street murder is involved here and a massive conspiracy becomes apparent. The stakes are suddenly very high indeed. If the skulduggery here (involving one of the largest pharmaceutical companies in the world) is a tad familiar, Grisham remains nonpareil when it comes to delivering a smoothly engineered plot. A fresh touch is Carter's desire to break free from the routine cases he has been handling: this quickly becomes a case of beware what you wish for. Another innovative touch is the refusal to tie up the narrative in the expected ways: The King of Torts has much more verisimilitude in this area than most legal thrillers. One more thing, Grisham's prose now has a sardonic, satirical quality that suggests the Tom Wolfe of Bonfire of the Vanities.

A Painted House

The hill people and the Mexicans arrived on the same day. It was a Wednesday, early in September 1952. The Cardinals were five games behind the Dodgers with two weeks to go, and the season looked hopeless. The cotton, however, was waist high to my father, almost over my head, and he and my grandfather could be heard before supper whispering words that were seldom heard. It could be a "good crop." Thus begins the new novel from John Grisham, a story inspired by his own childhood in rural Arkansas. The narrator is a farm boy named Luke Chandler, age seven, who lives in the cotton fields with his parents and grandparents in a little house that's never been painted. The Chandlers farm eighty acres that they rent, not own, and when the cotton is ready they hire a truckload of Mexicans and a family from the Ozarks to help harvest it. For six weeks they pick cotton, battling the heat, the rain, the fatigue, and sometimes, each other. As the weeks pass Luke sees and hears things no seven year old could possibly be prepared for, and finds himself keeping secrets that not only threaten the crop but will change the lives of the Chandlers forever. A Painted House is a moving story of one boy's journey from innocence to experience.

The Client

A US state senator is dead, and a young boy is told the name of the killer - a mafia hit-man, Danny "The Blade" Muldano - by Muldano's lawyer. After the lawyer's suicide, Muldano and the boy are the only people who know the killer's identity. By the author of "The Firm" and "The Pelican Brief".

The Bretheren

John Grisham's novels have all been so systematically successful that it is easy to forget he is just one man toiling away silently with a pen, experimenting and improving with each book. While not as gifted a prose stylist as Scott Turow, Grisham is among the best plotters in the thriller business and he infuses his books with a moral valence and creative vision that set them apart from their peers.

The Brethren is in many respects his most daring and accomplished book yet. The novel grows from two separate subplots. In the first, three imprisoned ex-judges (the "brethren" of the title), frustrated by their loss of power and influence, concoct an elaborate blackmail scheme preying on wealthy closeted gay men. The second story traces the rise of presidential candidate Aaron Lake, a man essentially created by CIA directory Teddy Maynard to fulfil Maynard's plans for restoring the power of his beleaguered agency.

Grisham's tight control of the two meandering threads leaves the reader guessing through most of the opening chapters how and when these two worlds will collide. Also impressive is Grisham's careful portraiture. Justice Hatlee Beech in particular is a fascinating, tragic anti-hero: a millionaire judge with an appointment for life who was rendered divorced, bankrupt and friendless after his conviction for drunk-driving homicide.

The book's cynical view of Presidential politics and criminal justice casts a somewhat gloomy shadow over the tale. CIA director Teddy Maynard is an all powerful demon with absolute knowledge and control of the public will and public funds. Even his candidate, Congressman Lake, is a pawn in Maynard's egomaniacal game of ad campaigns, illicit contributions and international intrigue. In the end, The Brethren marks a transition in Grisham's career towards a more thoughtful narrative style with less interest in the big-payoff blockbuster ending. But that's not to say that the last 50 pages won't keep you reading late into the early hours.

The Summons

An intelligent, low-key thriller, The Summons continues John Grisham's exploration of the common decencies of a strain of American commercial story-telling in literature and film that we often link to the work of Frank Capra or O Henry. He is not afraid of parable or of setting up situations that are at once archetypal and attractively specific. This is a tale of two brothers--one is righteous, more or less, and one is not--and a question of their inheritance. Ancient Mississippi judge Atlee summons his two sons to his deathbed, but dies before he can explain himself, leaving Ray, who arrives on time unlike his drunkard brother Forest with the difficult problem of the three million dollars in used notes which are lying around the house in shoe-boxes. Ray worries about his father's posthumous reputation, about the Inland Revenue Service and about how quickly Forrest could drink himself to death with unlimited funds.

Grisham is very acute indeed on how the best of intentions lead Ray not to any significant crime or atrocity but to quietly unconscionable behaviour. And then he realises he is being followed... Grisham can build suspense out of remarkably little and has a real gift for understanding the quiet anxieties of an ordinary man.

The Runaway Jury

A major film tie-in to the movie based on John Grisham's bestseller. Every jury has a leader and the verdict belongs to him. In Biloxi, Mississippi, a landmark trial with hundreds of millions of dollars at stake begins routinely, then swerves mysteriously off course. The jury is behaving strangely, and at least one juror is convinced he's being watched. Soon they have to be sequestered. Then a tip from an anonymous young woman suggests she is able to predict the juror's increasingly odd behaviour. Is the jury somehow being manipulated, or even controlled? And, more importantly, why?