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Why Scott Turow Brought Back His Most Famous Hero for ‘Presumed Guilty’

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Why Scott Turow Brought Back His Most Famous Hero for ‘Presumed Guilty’

The author and lawyer Scott Turow has never forgotten a harrowing conversation he had long ago with the mother of a young man charged with murder. Turow had successfully defended him in an earlier, less grave case, but this time he was clearly guilty.

It was a tragedy on many levels. But what struck Turow about the conversation was the mother’s fierce, primal love for her son despite everything. “She was just torn apart,” he said.

That memory was floating in the back of his mind as he conceived his latest novel, “Presumed Guilty,” about a high school student accused of murdering his girlfriend on a camping trip gone awry. The plot was inspired, too, by the 2021 murder of Gabby Petito, killed by a boyfriend whose parents closed ranks to protect him.

“I’ve always been struck by how terrible it is, what a shattering experience, for a parent when a child gets accused of a serious crime,” Turow said. “They think, ‘Is my love for this child so huge that I can’t recognize that he or she is a monster?’”

“Presumed Guilty” is Turow’s 13th novel, and the third to feature the former prosecutor (and now former judge) Rusty Sabich. Fans of Turow’s emotionally astute, legally complex and compulsively readable novels will remember meeting Rusty for the first time in the 1987 blockbuster “Presumed Innocent,” widely considered the gold standard for the modern courtroom thriller. (He’s also been in a 1990 movie and a 2024 mini-series, played by Harrison Ford and Jake Gyllenhaal, respectively.)

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Turow has been praised for writing popular books that rise to the level of literature, much as John le Carré elevated the espionage novel to an art form. Most of his books are set in Kindle County, a stand-in for Chicago, and many of his characters return later in different books, evoking a bustling fictional community. His work has been translated into more than 40 languages and sold more than 30 million copies worldwide.

Why resurrect Rusty, last seen suspended in a cloud of misery in the 2010 novel “Innocent”? Turow doesn’t think of his characters as people, exactly, but keeps their continuing stories tucked inside his imagination and felt a little uneasy, leaving Rusty hanging like that. “I feel a certain personal loyalty to him, because he’s the man who changed my life,” he said.

He was chatting at his part-time home in Naples, Fla., where the neighborhood has large houses on small lots and athletic senior citizens in tennis visors power-walking on the sidewalks. He spoke precisely, thoughtfully and almost encyclopedically. You got the feeling he remembered the details of every legal case he’d ever been involved with, whether fictional or real.

“Presumed Guilty” sends Rusty back to the courtroom, defending the son of his fiancée in a twisty murder trial — this time in the rural Midwestern community to which he’s retired. In classic Turow fashion, the truth of the case is withheld until the very end. The emotional complications of this scenario notwithstanding, the book gives Rusty, 77, a poignant shot at the domestic happiness that has always eluded him.

“Can you remake your life,” Turow said, “when you have a sense of your own mistakes and your own role in your prior unhappiness?”

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At 75, Turow has considered that question and exudes his own hard-won contentment. He’s mostly retired from the law, though he’s working on a lingering pro bono case. In 2008 he and his first wife, Annette, divorced after nearly 40 years together — it was “incredibly painful,” he said, but the right thing to do — and eight years after that, he got married again, to Adriane Glazier, a bank executive.

The humorist Dave Barry, a friend of Turow’s for some 30 years and his bandmate in the writers’ rock group the Rock Bottom Remainders, officiated.

Turow may come across as a serious, even grave person. But he isn’t really. Barry said the author cheerfully acceded to an on-the-spot instruction to incorporate lines from the song “Wild Thing” — including “Wild Thing/I think I love you” — into his marriage vows.

Turow has been known to sing lead vocals when the band plays the song, sometimes wearing an inexplicable novelty wig. “We are a very bad band, and I am the most untalented member,” he said.

“One of the reasons we love having him in the band is that he will abandon his dignity and do pretty much anything we ask him to,” Barry said via email.

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Turow and his wife divide their time between their houses up north — in Evanston, north of Chicago, and in rural Wisconsin — and Florida. The population down here is generally more conservative than they are, and many of their friends are Canadians fleeing south for the winter. The house is light and airy, with golf gear in the garage and, on a recent Friday, a large English cream golden retriever lying companionably in the living room.

An assistant was working in a nearby office; Adriane, now retired from her corporate job, was volunteering at the local Humane Society shelter; the family’s second retriever was out getting some exercise. The dogs’ names are Doug and Brian, though Turow prefers Brian’s nickname, Monkey.

“Adriane happens to like the idea that the dogs should have human names,” he said, laughing. “I’m not keen on it, personally.”

Turow was born on the north side of Chicago, in a Jewish neighborhood he describes as almost claustrophobically close-knit. His grandparents were Yiddish-speaking Belarusian immigrants.

His father, a doctor, was verbally abusive and had a deep-seated, explosive anger. Though Turow believes that everyone “has not only a reason for their shortcomings, but a point of view about the world founded on those things,” he said, his father’s foundational troubles did not excuse his behavior. “I was always terrified as a child,” he said.

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Turow’s father wanted him to be a doctor, but he wanted to be a novelist. He studied writing at Amherst, began publishing short stories and won a coveted teaching-and-writing fellowship to Stanford. Working on a (never published) novel about a tenants’ rent strike, he unexpectedly found himself excited by housing law — and by law itself, which felt like a curative to the emotional chaos of his childhood.

He enrolled in Harvard Law School and distinguished himself while still a student by publishing the nonfiction book “One L,” an instant classic that was almost novelistic in its portrayal of the emotional and intellectual turmoil of the first year of law school.

Turow took a job at the U.S. attorney’s office in Chicago and plunged into high-profile trial work, successfully prosecuting a Cook County judge charged with mail fraud and extortion, among other cases.

His deep understanding of the law and panoptic attention in the courtroom have informed his fiction ever since. “He’s listening to what the witness is saying, what the defense attorney is doing, what the judge is doing, how the bailiff is rolling her eyes, how the jurors are looking at each other — all the things that make his books so good,” said his friend Julian Solotorovsky, who met him when they shared an office back then.

He began writing “Presumed Innocent” for half an hour each day on his morning commute. It took him eight years, and it would be hard to overstate the almost electric excitement that greeted the book’s publication — the paperback sale, the film sale, the laudatory reviews, how it seemed that everyone was reading it on the train. Turow’s next book, “The Burden of Proof,” leaped to No. 1 on the New York Times hardcover best-seller list when it came out — even as “Presumed Innocent” was No. 1 on the paperback list.

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Turow’s father put “Presumed Innocent” on a shelf in his office, where his patients could see it, but couldn’t bring himself to praise it. When Turow asked him if he’d read it, he responded, “Yeah, but I still think you could have gone to medical school.”

More books followed, with Turow, now a partner at a big Chicago law firm, switching to a part-time role so he would have more time to write, even as he took on more pro bono work.

He shares with many members of his profession an alarm about the direction the courts are taking in the United States. “Of course, it makes me worried about the stability of democracy when you have a Supreme Court that is gaily tearing down some of the most important guardrails we have,” he said.

Turow is two years younger than his most famous character; they’ve aged in tandem. “We’re both fortunate in not suffering, you know, debilitating physical problems,” he said. But he’s not too preoccupied with his age. (It might help that his wife is 16 years younger.)

In any case, they have a marriage “in which we default to kindness,” he said, and are lucky that everyone in their extended blended family — her ex-husband, his ex-wife, everyone’s new partners, a total of five children and (so far) eight grandchildren — gets along.

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With “Presumed Guilty,” he says he’s ready to leave Rusty Sabich behind. But though the character’s arc is complete, the author’s is not. He’s working on a new book that begins when an old lawyer is startled to read an obituary for a man he believed his client had murdered 50 years earlier.

“I took a few months to ask if I wanted to write another novel, since it would be natural to feel I’d brought everything full circle,” he said. “But yes, I do. I have too much fun to stop willingly.”

Culture

Why Is Everyone Obsessed With Bogs?

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Why Is Everyone Obsessed With Bogs?

In prehistoric northern Europe, peatlands — areas of waterlogged soil rich with decaying plant matter — were considered spiritual sites. Since then, swords, jewelry and even human bodies have been found fossilized in their sludgy depths. More recently, however, many of these bogs have been depleted by overharvesting, neglect and development. But as awareness of their important role in removing carbon dioxide from the atmosphere grows, more wetlands are being restored, while also serving as unlikely creative inspiration. Here’s how bogs are showing up in the culture.

At fall 2026 Paris Fashion Week, several houses — including Louis Vuitton (above left) and Hermès — staged shows amid mossy sets featuring spongy green structures and mounds of vegetation. And the Danish fashion brand Solitude Studios is distressing its eerie, grungy looks (above right) by submerging them in a local peat bog.

For her exhibition at California’s San José Museum of Art, on view through October, the Chalon Nation artist Christine Howard Sandoval is presenting sculptures, drawings and plant-dyed works (above) exploring how the state’s wetlands were once sites of Indigenous resistance and community. This month, at Storm King Art Center in New York’s Hudson Valley, the conceptual artist Anicka Yi will unveil an outdoor installation featuring six-foot-tall transparent columns holding algae-rich ecosystems cultivated from nearby pond water and soil.

The Bog Bothy (above), a mobile design project by the Dublin-based architecture practice 12th Field in collaboration with the Irish Architecture Foundation, was inspired by the makeshift huts once used by peat cutters who harvested the material for fuel. After debuting in the Irish Midlands last year, it’ll tour the region again this summer. In Edinburgh, the designer Oisín Gallagher is making doorstops from subfossilized bog-oak scraps carbon-dated to 3300 B.C.

At La Grenouillère on France’s north coast, the chef Alexandre Gauthier reflects the restaurant’s reedy, frog-filled river valley landscape with dishes like a “marsh bubble” of herbs encased in hardened sugar. This spring, Aponiente — the chef Ángel León’s restaurant inside a 19th-century tidal mill on Spain’s Bay of Cádiz — added an outdoor dining area on a pier above the neighboring marshland, serving local sea grasses and salt marsh flowers alongside seafood (above) from the estuary.

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Credit…Penguin Random House

The Irish British writer Maggie O’Farrell’s forthcoming novel, “Land,” about an Irish cartographer and his son surveying the island in 1865 after the Great Famine, depicts haunting encounters with the verdant landscape, including its plentiful oozing bogs.

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Book Review: ‘Selling Opportunity,’ by Mary Lisa Gavenas

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Book Review: ‘Selling Opportunity,’ by Mary Lisa Gavenas

SELLING OPPORTUNITY: The Story of Mary Kay, by Mary Lisa Gavenas


Mary Kay, the cosmetics company whose multilevel marketing included sales parties and whose biggest earners were awarded pink Cadillacs, was really in the business of selling second chances. Or, at least, that’s what Mary Lisa Gavenas argues in “Selling Opportunity,” a dual biography of the brand and the woman behind it.

Mary Kathlyn Wagner, who would become Mary Kay Ash, “the most famous saleswoman in the world” and “maybe the most famous ever,” in Gavenas’s extravagant words, was born in 1918 to a poor family and raised mostly in Houston. Although a good student, she eloped at 16 with a slightly older boy. The young couple had two babies in quick succession.

Mary Kay’s creation was a combination of timing and good luck. Door-to-door sales was a thriving industry — but, traditionally, a man’s world: Lugging heavy samples was not considered feminine, and entering the homes of strangers, unsafe. But things began to change during the Great Depression, Gavenas suggests, thanks to a convergence of factors — financial pressures and the rise of the aspirational prosperity gospel espoused by Dale Carnegie’s self-help manuals.

At the same time, female-run beauty lines like Annie Turnbo Malone’s Poro and Madam C.J. Walker’s were finding great success in Black communities. And, coincidentally or otherwise, the California Perfume Company changed its name to Avon Products in 1939.

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Ash began by selling books door to door, moving on to Stanley Home Products in the 1940s. She was talented, but direct sales was a rough gig. Every party to show off wares was supposed to beget two more bookings; these led to sales that resulted in new recruits. But there was no real security or stability: no salary, no medical benefits, no vacations. “Stop selling and you would end up right back where you started. Or worse,” the author writes.

Gavenas, a onetime beauty editor who wrote “Color Stories,” takes her time unspooling Mary Kay’s tale, with a great deal of evident research. We learn about direct sales, women’s rights and Texas history.

But, be warned: Readers must really enjoy both this woman and this world to take pleasure in “Selling Opportunity.” Mary Kay the person keeps marrying, getting divorced or widowed and working her way through various sales jobs (it’s hard to keep track of the myriad companies and last names). Gavenas seems to leave no detail out. Thus, the 1963 founding of the eponymous beauty company doesn’t come until almost 200 pages in.

Beauty by Mary Kay included a Cleansing Cream, a Magic Masque and a Nite Cream (which containined ammoniated mercury, later banned by the F.D.A.). The full line of products — which was how Mary Kay strongly encouraged customers to buy them — ran to a steep $175 in today’s money. (To fail to acquire the whole set, Ash said, was “like giving you my recipe for chocolate cake but leaving out an important ingredient.”)

Potential clients attended gatherings at acquaintances’ homes — no undignified doorbell-ringing here — where they received a mini facial, then an application of cosmetics like foundation, lip color and cream rouge — and a wig. The company made $198,514 in sales its first year.

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Although Ash may have seemed a pioneer, in many ways Mary Kay was a traditionalist company, whose philosophy was “God first, family second, career third.” Saleswomen, official literature dictated, were working to provide themselves with treats rather than necessities so as not to threaten their breadwinner husbands.

And yet, they were also encouraged to sell sell sell. Golden Goblet pendants were awarded for major orders. After the company started using custom pink Peterbilt trucks for shipping, it began commissioning those Cadillacs for top consultants. (Mary Kay preferred gifts to cash bonuses, lest women save the money to spend on practical things rather than the licensed frivolities.) The Cadillacs, always driven on company leases, would become industry legend and part of American pop culture lore. “Never to be run-down, repainted or resold, the cars would double as shining pink advertisements for her selling opportunity,” Gavenas writes.

The woman herself was iconic, too. While Ash was a product of the Depression, she was also undeniably over-the-top. She wore white suits with leopard trim, lived in a custom Frank L. Meier house and brought her poodle to the office.

Mary Kay went public in 1968, making her the first woman to chair a company on the New York Stock Exchange. By the 1990s, the Mary Kay headquarters near Dallas was almost 600,000 square feet. They commissioned a hagiographic company biopic; there was a Mary Kay consultant Barbie; they were making $1 billion in wholesale. When she died, in 2001, Ash was worth $98 million.

And yet, Gavenas cites that at the company’s height, in 1992, sales reps made on average just $2,400 per year.

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Instead of so much time in the pink fantasia of Mary Kay, it would have been nice for a few detours showing how infrequently the opportunities the company sold were truly realized.

SELLING OPPORTUNITY: The Story of Mary Kay | By Mary Lisa Gavenas | Viking | 435 pp. | $35

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Historical Fiction Books That Illustrate the Bonds Between Mother and Child

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Historical Fiction Books That Illustrate the Bonds Between Mother and Child

We often think of the past as if it were another world — and in some ways, it is. The politics, religion and social customs of other eras can be vastly different from our own. But one thing historians and historical fiction writers alike often notice is the constancy of human emotion. The righteous anger of a customer complaining about a Mesopotamian copper merchant in 1750 B.C. feels familiar. Tributes to beloved household pets from ancient Romans and Egyptians make us smile. And we are captivated by stories of love, betrayal and sacrifice from Homer to Shakespeare and beyond.

In literature, letters, tablets and even on coins, we find overwhelming evidence that people in the past felt the same emotions we do. Love, hate, fear, grief, joy: These feelings were as much a part of their lives as they are of our own. And they resonate especially acutely in the bond between mother and child. Here are eight historical novels that explore the meaning of motherhood across the centuries.

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