Back Mississippi Blood
Chapters (86)
  1. Cover
  2. Dedication
  3. Epigraph
  4. Prologue
  5. Chapter 1
  6. Chapter 2
  7. Chapter 3
  8. Chapter 4
  9. Chapter 5
  10. ThursdayChapter 6
  11. Chapter 7
  12. Chapter 8
  13. Chapter 9
  14. FridayChapter 10
  15. Chapter 11
  16. Chapter 12
  17. Chapter 13
  18. SaturdayChapter 14
  19. Chapter 15
  20. Chapter 16
  21. SundayChapter 17
  22. Chapter 18
  23. Chapter 19
  24. MondayChapter 20
  25. Chapter 21
  26. TuesdayChapter 22
  27. Chapter 23
  28. Chapter 24
  29. Chapter 25
  30. Chapter 26
  31. Chapter 27
  32. Chapter 28
  33. Chapter 29
  34. Chapter 30
  35. Chapter 31
  36. Chapter 32
  37. Chapter 33
  38. Chapter 34
  39. Chapter 35
  40. WednesdayChapter 36
  41. Chapter 37
  42. Chapter 38
  43. Chapter 39
  44. Chapter 40
  45. Chapter 41
  46. Chapter 42
  47. Chapter 43
  48. Chapter 44
  49. Chapter 45
  50. Chapter 46
  51. Chapter 47
  52. Chapter 48
  53. ThursdayChapter 49
  54. Chapter 50
  55. Chapter 51
  56. Chapter 52
  57. Chapter 53
  58. Chapter 54
  59. Chapter 55
  60. Chapter 56
  61. Chapter 57
  62. Chapter 58
  63. Chapter 59
  64. Chapter 60
  65. Chapter 61
  66. FridayChapter 62
  67. Chapter 63
  68. Chapter 64
  69. Chapter 65
  70. Chapter 66
  71. Chapter 67
  72. Chapter 68
  73. Chapter 69
  74. Chapter 70
  75. Chapter 71
  76. Chapter 72
  77. Chapter 73
  78. Chapter 74
  79. Chapter 75
  80. Chapter 76
  81. Chapter 77
  82. Epilogue
  83. Acknowledgments
  84. About the Author
  85. Also by Greg Iles
  86. About the Publisher

“Some people may be upset that I’m speaking so openly about race. We’re supposed to be living in a color-blind society, aren’t we? But we all know that we do not live in such a society. I keep hearing about a post-racial society. Whatever a post-racial society is, we’re still decades away from it. In Mississippi, and in Washington, D.C., too. And make no mistake: race lies at the very heart of this case. Were it not for the fact of race—the perceived difference between people of different colors—Viola Turner would not have been murdered.”

This statement brings a hush over the crowd. Judge Elder looks right at Quentin as if expecting an objection, but Quentin appears unperturbed, even carefree.

Shad holds up his forefinger like a passionate professor. “Let me explain something to you. As a prosecutor, I normally stay away from the issue of motive during trials. Everybody who watches TV is familiar with the terms ‘motive, means, and opportunity.’ But in this room, means and opportunity carry a whole lot more weight than motive. Why? Because the State is not required to prove why anybody did anything. What the State is required to prove is that a given person did on a certain day, at a certain time, with malice aforethought, kill a particular person. That’s all. The why doesn’t come into it. That’s for the Law & Order writers to worry about.”

Soft laughter reverberates through the room.

“But this case, ladies and gentlemen, is different. This case is all about motive. The question we must answer is ‘Why?’ And the answer lies in the relations—both public and private—between black and white. Which happens to be the two colors we have sitting in the gallery, in the jury box, and standing by the hundreds outside this courthouse. Well, you lucky few are inside. And you’re going to hear a remarkable tale over the next couple of days. A brutal and tragic story. So, let me play storyteller for a few minutes and set the stage for you.”

Shad leaves the lectern and steps into the well, which is a presumptuous habit of his, and to my surprise Judge Elder doesn’t stop him.