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John GrishamA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Although Michael Brock, the protagonist of the novel, is a dynamic character, his changes are slower and slighter than those of an archetypal hero. Most of his physical, domestic, and occupational aspects change drastically within the first quarter of the novel, but his mentality, a key factor in Michael’s transformation, takes much more time. In fact, readers do not get any solid insight into his character until Chapter 6, when he visits his parents. As a side note during the golf match with his father, Michael offers this glimpse into his childhood:
“Like my brothers, I was not born with a social conscience. We gave offerings to the church because the Bible strongly suggests it. We paid taxes to the government because the law requires it. Surely, somewhere in the midst of all this giving some good would be done, and we had a hand in it […] [T]here was no money to be made by honest people. We were taught to be productive, and the more success we attained, the more society would benefit, in some way. Set goals, work hard, play fair, achieve prosperity. (57)
Although Michael Brock, the protagonist of the novel, is a dynamic character, his changes are slower and slighter than those of an archetypal hero. Most of his physical, domestic, and occupational aspects change drastically within the first quarter of the novel, but his mentality, a key factor in Michael’s transformation, takes much more time. In fact, readers do not get any solid insight into his character until Chapter 6, when he visits his parents. As a side note during the golf match with his father, Michael offers this glimpse into his childhood:
“Like my brothers, I was not born with a social conscience. We gave offerings to the church because the Bible strongly suggests it. We paid taxes to the government because the law requires it. Surely, somewhere in the midst of all this giving some good would be done, and we had a hand in it […] [T]here was no money to be made by honest people. We were taught to be productive, and the more success we attained, the more society would benefit, in some way. Set goals, work hard, play fair, achieve prosperity. (57)
Michael characterizes his family as almost cultlike, with his father at the helm. Through this description, the reader sees that, from birth, he has been indoctrinated into a belief that includes staunch rule-following, painstaking work ethic, clear goals, and unrelenting drive toward [monetary] success. Michael’s father’s beliefs include doing good deeds passively, and only through giving money, despite his reference to the Bible as an authority. His father sees the world as well-defined and fixed; there is no room for nebulous sliding scales like justice, love, and compassion. This dogma is the ruling force in Michael’s life, both growing up and as an adult in the first stage of his character arc, which explains why, before Mister, Michael has never given a second thought to the world beyond his bubble or reckoned with his Personal Privilege and Responsibility.
Almost immediately after the Mister incident, Michael decides to leave Drake & Sweeney because he realizes he no longer blindly agrees with their principles. He recognizes that Drake & Sweeney have violated DeVon Hardy’s and the Burtons’ rights, and he is moved to fight for them, but he does not yet acknowledge how deeply his pattern of thinking runs, nor is he aware of all of its ramifications. The second phase of Michael’s character arc, therefore, consists of him learning various lessons that gradually reveal to him the truth of his childhood perspectives, courtesy of the mentorship of Mordecai Green. For the bulk of the book, every time Michael helps someone or gains new perspective on his clients, he makes a comment that indicates his overall mindset is still catching up. For example, after he has been working with Mordecai for some time and learning the ways of street law, one night after work, he “[walks] fast and smart to [his] car […] The sidewalk [is] empty; no hoodlums, no gunfire, not a scratch on [his] Lexus.” He drives away feeling proud of himself for “surviving” the streets (133). At this point, Michael has had opportunities to do good in the community, but he still retains his Lexus—a symbol of his old life—which he does not intend to sell. He also refers to potential criminals as “hoodlums,” an antiquated, “othering” word typically used by people who stand outside their circle in judgment. Most ironically, he pats himself on the back because he imagines he can “survive on the streets,” when his actions and thoughts indicate that he is woefully unprepared to do so. Even as far as Chapter 27, he does not understand why the evictees he has been looking for would not want to make themselves available to him.
The final stage in Michael’s character arc is the beginning of his ability to be his own ruling force, guided by the principles of street law that he has embraced. This phase begins when he agrees to a nine-month license suspension in exchange for a larger monetary settlement that will provide support and retribution for people without housing and for the legal clinic. The court settlement is the first time Michael willingly sacrifices something important to him for the betterment of the community. He then reinforces that action with his parting statement that he is not looking to the future because he is still contending with the past. This confession shows a marked change in Michael’s self-awareness, which is the piece of the puzzle he has been missing for the entire novel. The line also sets the stage for a difficult mental journey upon which he is now willing to embark, which will happen in the fictional future.
Michael characterizes his family as almost cultlike, with his father at the helm. Through this description, the reader sees that, from birth, he has been indoctrinated into a belief that includes staunch rule-following, painstaking work ethic, clear goals, and unrelenting drive toward [monetary] success. Michael’s father’s beliefs include doing good deeds passively, and only through giving money, despite his reference to the Bible as an authority. His father sees the world as well-defined and fixed; there is no room for nebulous sliding scales like justice, love, and compassion. This dogma is the ruling force in Michael’s life, both growing up and as an adult in the first stage of his character arc, which explains why, before Mister, Michael has never given a second thought to the world beyond his bubble or reckoned with his Personal Privilege and Responsibility.
Almost immediately after the Mister incident, Michael decides to leave Drake & Sweeney because he realizes he no longer blindly agrees with their principles. He recognizes that Drake & Sweeney have violated DeVon Hardy’s and the Burtons’ rights, and he is moved to fight for them, but he does not yet acknowledge how deeply his pattern of thinking runs, nor is he aware of all of its ramifications. The second phase of Michael’s character arc, therefore, consists of him learning various lessons that gradually reveal to him the truth of his childhood perspectives, courtesy of the mentorship of Mordecai Green. For the bulk of the book, every time Michael helps someone or gains new perspective on his clients, he makes a comment that indicates his overall mindset is still catching up. For example, after he has been working with Mordecai for some time and learning the ways of street law, one night after work, he “[walks] fast and smart to [his] car […] The sidewalk [is] empty; no hoodlums, no gunfire, not a scratch on [his] Lexus.” He drives away feeling proud of himself for “surviving” the streets (133). At this point, Michael has had opportunities to do good in the community, but he still retains his Lexus—a symbol of his old life—which he does not intend to sell. He also refers to potential criminals as “hoodlums,” an antiquated, “othering” word typically used by people who stand outside their circle in judgment. Most ironically, he pats himself on the back because he imagines he can “survive on the streets,” when his actions and thoughts indicate that he is woefully unprepared to do so. Even as far as Chapter 27, he does not understand why the evictees he has been looking for would not want to make themselves available to him.
The final stage in Michael’s character arc is the beginning of his ability to be his own ruling force, guided by the principles of street law that he has embraced. This phase begins when he agrees to a nine-month license suspension in exchange for a larger monetary settlement that will provide support and retribution for people without housing and for the legal clinic. The court settlement is the first time Michael willingly sacrifices something important to him for the betterment of the community. He then reinforces that action with his parting statement that he is not looking to the future because he is still contending with the past. This confession shows a marked change in Michael’s self-awareness, which is the piece of the puzzle he has been missing for the entire novel. The line also sets the stage for a difficult mental journey upon which he is now willing to embark, which will happen in the fictional future.
Grisham characterizes Mordecai Green as a foil to Michael Brock, a juxtaposition which aligns with other major literary elements throughout the novel. The reader first meets Mordecai when Michael seeks him out at the legal clinic. Grisham describes him as “a huge black man, at least six five with a wide frame that carried a lot of weight” (37). Mordecai is in his early 50s, has a gray beard, and wears round, red-framed glasses. Michael hears Mordecai before he sees him, as “a loud roar [comes] from one of the side rooms, and [startles] [him] without fazing Sofia” (37). Mordecai has a powerful, imposing presence; he commands attention and respect, and he does not suffer fools. He is not afraid to speak (or roar) his mind. In this introductory section, Grisham characterizes Mordecai more like an animal than a person, which creates an ethos of both reverence and intrigue. Mordecai commands attention on the page as well; he is skeptical of Michael through much of their first conversation, doubting Michael’s true intentions. By the end of that first encounter, however, Michael describes Mordecai as “a warm, caring man who labored on the streets protecting hordes of nameless clients,” and he admits that “[Mordecai’s] view of the law required more soul than [Michael] could ever muster” (42). Thus, Mordecai is simultaneously rough, gruff, soulful, and tirelessly dedicated, a perfect foil to the vapid, passive, indecisive Michael Brock.
One could argue that The Street Lawyer is as much Mordecai’s story as it is Michael’s, except that Mordecai is a static character. For much of the novel, Michael acts as Mordecai’s sidekick or mentee, and the only reason Mordecai needs Michael for the trial is that he has access to inside information, albeit illegally. Mordecai is the only vessel through which Michael can fully change; he not only introduces Michael to the world of less-resourced people but also shows him a universe where laws are not always fixed, bending rules is not always bad, and Justice Is Relative. Without Mordecai’s mentorship, Michael would not fit at the legal clinic, and Mordecai is smart enough to foresee that Michael’s presence there is beneficial to their clients and to Michael’s own development.
Through the use of metonymy (see Literary Devices), Grisham characterizes the entire law firm of Drake & Sweeney, all 400 lawyers plus their support staff, as one entity, namely the villain of the story. At times, the firm is represented by a single person (e.g., Arthur Jacobs, Rafter, Barry Nuzzo, etc.), but since none of those individuals have unique personalities or motivations, readers should analyze them under the umbrella of the firm’s title.
Long before Michael’s encounter with Mister, Drake & Sweeney was the villain in his marriage to Claire (although this knowledge comes after Mister in the chronology of the narrative). In the early days of their relationship, Michael neglects Claire during long work hours, because “young associates don’t complain in the hallowed offices of Drake & Sweeney […] The competition is ruthless […] Billing lots of hours is more important than a happy wife. Divorce is common” (26). Drake & Sweeney destroys work-life balance, bulldozing over those boundaries, and teaching its employees that the reward it is offering (social and economic privilege) is worth more than anything else in their lives. Michael gets seduced by the allure of money and power and forgets to nurture his marriage; because of his blind loyalty to the firm, he resigns himself to divorce almost as soon as he and Claire get together.
Drake & Sweeney’s main role as villain, of course, is against Michael, Mordecai, and the evictees in the River Oaks lawsuit. Once Michael leaves and the firm discovers he has stolen the file, Drake & Sweeney leverages several tactics against him, some of which put him and Claire in physical danger. Late in the novel, when the firm files a complaint against Michael with the court of appeals, Michael explains that “[t]hey [want] blood. It [is] a typical big-firm, hardball, take-no-prisoners strategy” (283). He characterizes Drake & Sweeney as a predatory animal or trained assassin: The firm does not just want to win the case; it wants to annihilate Michael. A few chapters later, Michael says, “They had chosen to go for [his] jugular” (302), another indication of behavior meant to deeply wound or kill.
Grisham draws Drake & Sweeney as the classic, static villain, with no redeeming qualities and therefore no complexities. It is simply a powerful bully wielding its influence over the weak. No one is rooting for Drake & Sweeney to win. Grisham does give readers a sliver of hope for the metamorphosis of the villain when Arthur Jacobs visits Michael at the legal clinic. Arthur is the CEO, and he has upheld the principles of the firm throughout the novel, but Grisham’s narration of his “soul-cleansing” as an individual act is not insignificant. As a collective entity, Drake & Sweeney is still evil; only individuals who reject its hold can change.
By John Grisham