![]() He caught a wave set in motion years earlier by the culture at large, and in the literary world by writers like John le Carré and Stephen King, who bent the conventions of their genres to more serious ends. ![]() ![]() Turow did not cause this shift on his own, of course. But the phenomenal success of Presumed Innocent, which spent 45 weeks on the New York Times bestseller list, was also a turning point in the decades-long process that saw highbrow literature and middlebrow entertainment, once sworn enemies, merge into the hybrid literary world we live in today, in which literary writers routinely use murder mysteries to propel their novels and genre authors routinely grant their characters elaborate inner struggles to add literary heft to their plots. It is also easy to see how Turow and other popular novelists of his era like Tom Wolfe and Donna Tartt provided a template for contemporary authors like Gillian Flynn, whose 2012 book Gone Girl incorporates literary techniques to flesh out her plot machinery. TWENTY-SIX YEARS after its publication, few would disagree that Scott Turow’s bestselling legal thriller Presumed Innocent blazed a trail for other writer-lawyers like John Grisham and Richard North Patterson. ![]()
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