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FREE INQUIRY in CREATIVE SOCIOLOGY Ralph G. O'sullivan FREE INQUIRY IN CREATIVE SOCIOLOGY Volume 40, Number 1, Spring 2012 FICTIONAL REALITY AND THE PORTRAYAL OF JUSTICE IN MODERN SOCIOLOGY AND CONTEMPORARY NOVELS * Ralph G. O'Sullivan Chillicothe, IL ABSTRACT Social justice is a popular subject of discussion in sociology, politics, jurispru­ dence, as well as popular novels. The outcomes of its proceedings are equally curious because that which is "just" depends upon such variables as defining the direction that justice needs to take, allocating authority to enforce it, and public reaction to its consequences. This article represents a layered investiga­ tive journey into the portrayal of justice in nine popular series of novels because its fictional enactment represents the way that the population would like to see it enforced, but does not. Since the body of the material reviewed here are works of fiction which incorporate known data a new expression is offered. Fictional reality refers to the ways in which novelists weave fair knowledge about modern justice into stories which please their audiences, and this article explores the means by which that melding occurs. *Originally printed in Free Inquiry in Creative Sociology 2006 34(2). "You want justice done you got to get it INTRODUCTION yourself' (James Lee Burke, Moon of If these statements by three popular Red Ponies). novelists are correct then our system of justice is the subject of serious public "That's what the notion of 'justice' was despair and ridicule. A common under­ all about anyway: settling up" standing about social justice is that it (Sue Grafton, A is for Alibi). exists when that which is morally "right" prevails over that which is morally "I don't think Barbara Daggett gave a "wrong" in a legally-contested process. damn about seeing justice done, While such proceedings are intended whatever that consists of' to be swift and sure, they are often (Sue Grafton, D is for Deadbeat). slow with uncertain outcomes, leaving the population both unhappy with it, "First food, then justice. That's the and scornful of it. Contemporary writers proper ordering of world events" (Sue such as James Lee Burke, Sue Graf­ ton, and Nora Roberts understand Grafton, J is for Judgment). these mixed concerns and capitalize on them by writing books wherein "You can't leave justice to others" justice is depicted in ways which they (Nora Roberts, Northern Lights). would like to see it fulfilled. A novel, 37 FREE INQUIRY IN CREATIVE SOCIOLOGY Volume 40, Number 1, Spring 2012 then, becomes "an internal search for then placed on the moral entrepreneur­ truth that the author shares" writes Jeff ial roles of the books' characters. The Rovin (2005:233), author of books in a third destination for this excursion is an Tom Clancy-created series. analysis of the near-autobiographical James Lee Burke created the series method by which several of the writers of books featuring Deputy Sheriff Dave have been able to create likable and Robicheaux (1987-2003, 2005, 2006) believable fiction. Authors can accom­ and the shorter series about Billy Bob plish this task by keeping our emotions Holland from which the above state­ peaked with aversion, sensuality, and ment was taken; Sue Grafton wrote the tension carrying us to the last pages of best-selling "Alphabet" crime books their books. starring private detective Kinsey Mill­ When this article is completed, we hone (1983-2005); and Nora Roberts will be able to better understand how created many stories whose genres selected novelists enlist wide reader­ are difficult to classify. One of the rea­ ship simply by providing surrogate im­ sons that these authors, and others to ages of a justice system that works. As be identified shortly, frequently top this journey into the melding of fiction best-selling lists is that they integrate and fact begins there is need to identify geo-politics, geography, sociology, ab­ the means by which the series novels normal psychology, forensic criminolo­ were chosen for use here, as well as gy, moral entrepreneurial roles, humor, listing the specific ones which were and romance into their stories. A sec­ selected a literature review. ond reason for their popularity is that the books fulfill our thirst for an ideal NOVELS: TYPES AND CHOICES system of justice as we are taken on journeys into the unreal-real world of Excluding genres, novels fall into literature- that of fictional reality. one of two categories- series or stand­ This article represents an excursion alone books. Each has particular ap­ into that world wherein celebrated he­ peals for the authors and their audi­ roes do not fit some stereotypical im­ ences. Each has designated proper­ ages. They no longer ride white hors­ ties. Each has certain limitations. Each es, use silver bullets, follow the rules, contains different types of storylines and have the full authority of the law and characterizations. Each can be re­ behind them. As this journey begins, lated to sociological methodologies, all there are several destinations which of which need to be discussed before await our arrival. First, there is need to the chosen authors and their books are discuss the logic behind the choice of presented. series novels instead of stand-alone books; this trip requires the identifica- Series and Stand-Alone Books tion of the authors and series chosen A series of novels is one in which for examination. The second stop on there is a set of characters, locales, or this trip identifies the several ideal events which have recurring presence types of justice which are portrayed in from one book to the next. Characters the books, and special emphasis is change over time by growing older, 38 FREE INQUIRY IN CREATIVE SOCIOLOGY Volume 40, Number 1, Spring 2012 suffering illnesses, having family mem­ other. I read series and stand-alone bers and friends emerge and die, and books, many of each because they are moving from one place to another as both appealing even though they may jobs require. Series fans read the latest contain similar thoughts, for which two installment as soon as it is available, illustrations are provided. The opinion then anguish for months or years until about social justice provided by Nora the next one is published. Fans may Roberts at the beginning of this piece also mourn or feel betrayed when the is virtually identical to those of James series ends by design or by the death Lee Burke and Sue Grafton, but the of the author. Friendships with the book is not one of a set. Likewise, San­ characters grow as does a like-minded­ dra Brown's Fat Tuesday (1997), star­ ness with the author and fellow believ­ ring Burke Basile as a New Orleans' ers. Dave Robicheaux, for example, is cop, contains probative methods simi­ discussed among readers as if he is a lar to the ones contained in James Lee real person. Fans of his might pur­ Burke's books, but her piece is not part chase baseball caps and t-shirts em­ of a set either. blazoned with the logo for the "Robi­ The stories chosen and the people cheaux Bait and Dock" shop from an in them are fictional. Yet as we define internet source. Borrowing from socio­ subjects and their actions as having an logy's methods, there is a longitudinal existence beyond mere fantasy, we quality to series books because they voluntarily suspend our intellectual portray their characters over an ex­ understanding of fiction and treat it as tended period of time even though being real- a luxury in which we en­ each episode in the series is a story gage for purposes of entertainment. unto itself- as in static dynamics. We are just literary junkies and voyeurs In comparison, stand-alone books as we delve repeatedly into the lives of have a kinship with cross-sectional stu­ imaginary people, illusory justice, and dies in sociology. They represent a the lives of the books' creators. So why snapshot story taking place within limit­ were the books chosen and which ed boundaries rather than ones which ones were selected? are not so restricted, but which can of- ten work to the advantage of a reader. The Authors and Their Series Since there are no intended links to The series books chosen for use preceding or succeeding books, the here were originally read for recrea­ reader is free to explore other authors tional purposes. It was later deter­ or genres without feelings of guilt or mined that an organized investigation disloyalty, free to have alternative liter- of them might be possible which pro­ ary experiences without becoming moted three dominant reasons for bored by stylistic or thematic duplica- their selection. tion. The first and obvious one is that While readers are free to choose they represent a convenience sample their own forms of amusement, it from private libraries or they were bor­ should not be concluded that they are rowed from public facilities. The sec­ restricted to one type of book over an- ond reason is that the books deal with 39 FREE INQUIRY IN CREATIVE SOCIOLOGY Volume 40, Number 1, Spring 2012 different types of justices being ac­ She battles an alligator, near drown­ complished and they contain different ings, the confines of a pitch-black types of moral entrepreneurial roles to cavern, the ravage of a forest firestorm, fulfill justices. Third, most of the auth­ and her use of alcohol. ors who were selected have personal stories, or near-autobiographies, Alafair Burke's Samantha Kincaid which are particularly suited for their Alafair Burke is a newcomer to the creations. The series do not represent trade and daughter of James Lee random sampling because they were Burke, and has penned three Saman­ not given numerical assignments from tha Kincaid books (2002-2005).
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