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By Peter Murphy

1964 brings clean demanding situations to Ben Schroeder, now a member of chambers headed by means of Bernard Wesley quality control. A dating couple were attacked at the banks of the River Ouse close to Ely. the scoop of thrashing, rape and homicide quickly develop into January's sensational headlines. Schroeder is termed to help the defence yet lead quality control, Martin Hardcastle, has a name that is going earlier than him. because the strain mounts, speak of alcoholism fills the court docket with Hardcastle's repeated absences and doubtless reckless activities risking the aid of his workforce. And whilst a surprise selection is made, it's left to Ben and his colleague, Jess, to house the implications. With the case drawing mass media awareness and public opinion turning opposed to capital punishment, Schroeder needs to once more face the bias, scandal and corruption of the brutal court truth and its verdict at the destiny of a man's existence.

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Extra resources for A Matter for the Jury

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Aeschylus’s masterpiece, which culminates in a celebration of Athenian justice, does more than discipline the cyclical bloodletting of violent murder in the myth of the House of Atreus. 5 In this way, the Oresteia is definitive and fundamental to the performance of violence. If Hannah Arendt asserts that violence is vastly under-examined, then Giles Deleuze goes one step further by claiming that violence is near unfathomable in its openness and, as such, results in silence. In his 1989 essay ‘The Language of Sade and Masoch’ Deleuze writes that ‘in principle, violence is something that does not speak’ (518).

A struggle. FRANCES stabs him again. FRANCES. And you thought I was afraid a the knife. (Another stab) Where is she? FERMOY. (Falls to the ground. She gets on top of him) No … Frances … no … Stop … stop … FRANCES. And did you stop when Ariel cried ouh for mercy? Did ya? Tell me where she is. FERMOY. This wasn’t … this … Sweet God in your … FRANCES. Tell me. Where is she? FERMOY. (Whispers as he dies) Cuura Lake. FRANCES. Cuura Lake. She throws down the knife. ‘Mors et Vita’ music, and blackout (59-60).

P. E. Easterling (Cambridge: Cambridge University Press, 1997): 178-210. ’ The Journal of Hellenic Studies 116 (1996): 1-32. Carr, Marina, Ariel (Loughcrew: The Gallery Press, 2002). Clausewitz, Carl von, On War. Ed. and Trans. Michael Eliot Howard (Princeton, NJ: Princeton University Press, 1976). ’ Everyday Theory: A Contemporary Reader. Eds. Becky McLaughlin and Bob Coleman (New York: Pearson 2005): 518-522.

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