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TriadCity Message of the Day
2008-08-29

Rules of thumb:

  • The poorer the convict, the more likely to receive the death penalty.
  • The richer, the more likely to receive a fine instead of jail time.
  • The wealthier or more politically connected the victim, the tougher the sentence.

Convicts with healthy enough bank accounts may well leave a courtroom free after committing murder, provided the victim wasn't a Judge, or the Mayor, or a Senator, or extremely wealthy, or prominent in some other way which, we hope, will be obvious. Of course, the convict's bank account will be lighter, probably considerably.

Convicts lacking sizable bank balances are likely to be sentenced to prison time or even death. However, convicts sent to prison in NE aren't really expected to serve out their sentences. Instead, the expectation is that their bank accounts will be enhanced one way or another, e.g., some other character will give or loan them the money necessary to leave the prison. This is also true of those sentenced to death. If the financial means can be found in time, execution of sentence is unlikely.

These features suggest that group solidarity among criminals is a good thing. It's up to criminals themselves to forge that solidarity, or not.

More notes will follow as Justice NorthEast nears completion.

Back to the current MOTD index.

 
 
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"[The] dominant of postmodernist fiction is ontological. That is, postmodernist fiction deploys strategies which engage and foreground questions like ... "Which world is this? What is to be done in it? Which of my selves is to do it?" Other typical postmodernist questions bear either on the ontology of the literary text itself or on the ontology of the world which it projects, for instance: What is a world?; What kinds of worlds are there, how are they constituted, and how do they differ?; What happens when different kinds of worlds are placed in confrontation, or when boundaries between worlds are violated?; What is the mode of existence of a text, and what is the mode of existence of the world (or worlds) it projects?; How is a projected world structured? And so on."
--Brian McHale,
Postmodernist Fiction (info)
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