In 1933 the crime writer Erle Stanley Gardner, himself a practicing lawyer, unleashed the character Perry Mason in the novel The Case of the Velvet Claws. Perry Mason entered into public consciousness as a new conception of the role of the defense lawyer, so that millions of Americans came to expect every criminal trial to have its “Perry Mason moment.” In the 1950s the Perry Mason TV show had a phenomenal success, and Mason came to be identified with Raymond Burr. Now Perry Mason has again been restored to life in the HBO series starring Matthew Rhys and John Lithgow. Meanwhile, the eighty-two original Erle Stanley Gardner novels continue to sell thousands of copies each week. Perry Mason gave America a new conception of the trial lawyer, as someone who was always loyal to his client and always prepared to use dirty tricks such as misdirection and withholding of evidence to protect the innocent and secure the ends of Justice. The Mason of the novels is less scrupulous than the Raymond Burr Mason, and would sometimes be in danger of going to jail if the trial didn’t turn out right—which it always did, largely because of Mason’s cleverness. The Perry Mason icon raises many philosophical issues explored by seventeen different philosophers in this book, including: ● Can we defend Paul Drake’s claim (The Case of the Blonde Bonanza) that Mason is “a paragon of righteous virtue” despite his predilection for skating on thin legal ice? ● Can complex murder cases be solved by facts alone—or do we also need empathy? ● The most convincing way to give a TV episode a surprise ending is by the guilty person suddenly confessing. But in reality, is a confession necessarily so convincing? ● Does Perry Mason represent the Messiah? ● How does the Raymond Burr Perry Mason compare with the more recent TV character Saul Goodman (Breaking Bad and Better Call Saul)? ● Is it morally okay to mislead the police if this helps your client and your client is innocent? ● How does Perry Mason help us understand the distinction between natural law and positive law? ● Do the Perry Mason stories comply with Aristotle’s recipe for a good work of fiction? ● Does life imitate art, when Perry Mason is cited in real-life courtroom arguments? ● How much trickery can be justified by loyalty to one’s client? ● Can evidence in murder trials be evaluated by probability theory? ● Perry Mason is officially a lawyer and unofficially a detective. But isn’t he really a historian and a psychgoanalayst? ● Della Street is a competent legal secretary, but is she something more? ● Mason often says that “Eye-witness testimony is the worst kind of evidence” and occasionally that “Circumstantial evidence is the best evidence we have.” Can these claims be defended?

"The key to Perry Mason was that it was a game show. It was 'Who Killed Cock Robin?' You had five suspects, each of whom had their own scene [opposite Mason] in the course of each show-and each of whom had a chance to 'one-up' Mason in that scene. So when it got to court in the second half of the show, the imprint of the characters was so strong that the game persisted. That, with outstanding scripts and direction, plus the chemistry between Raymond Burr and the rest of the cast, are the main reasons for the show's popularity."~Arthur Marks,producer of the original CBS series,director of seventy-six episodes of Perry Mason (more than any other director)"The underlying dynamic behind the appeal of Perry Mason is that it was a show about innocent people who are unjustly accused. Everyone would like to have a 'Godfather,' and to some extent Raymond Burr filled that part. It was an indestructible formula."~Dean Hargrove,writer of Perry Mason Returns,executive producer of the NBC Perry Mason moviesBased on the best-selling novels of Erle Stanley Gardner, Perry Mason was an idealized portrayal of our legal system-a reminder that, in the end, what matters is that justice is truly served. Part whodunit, part courtroom thriller, both the long-running original series (CBS, 1957-1966) and the equally successful made-for-TV movies (NBC, 1985-1995) have not only captivated audiences around the world since their respective premieres, but continue to attract new viewers every day via cable and DVD.THE CASE OF THE ALLITERATIVE ATTORNEY tells you everything you wanted to know about the iconic TV series that made Raymond Burr a star. Featuring a comprehensive episode guide to both the original CBS series and NBC movies, the book includes interviews and commentaries from such esteemed Perry Mason alumni as Barbara Hale ("Della Street") and Richard Anderson ("Lieutenant Drumm"); guest actors Ruta Lee, David McCallum, H.M. Wynant, Jacqueline Scott, June Lockhart and Margaret O'Brien; producer/director Arthur Marks; writer/producer Dean Hargrove; directors Ron Satlof, Christian Nyby II and James Sheldon; and many, many others. Plus: insight into the writing and production of both the CBS and NBC series; fun and interesting factoids for every episode; behind-the-scenes photographs; and a whole lot more.

One of Perry Mason's trademarks is his ability, in court, to switch the physical evidence in a case. He generally does this with guns or bullets, and it confuses the jury, to his client's advantage. In this case, Perry offers a coroner's inquest two parrots, one of which swore like a muleskinner and was found near the body of a millionaire hermit who had been murdered.

In The Good Wife and Philosophy, fifteen philosophers look at the deeper issues raised by this stirring TV drama. The Good Wife gives us courtroom battles in the tradition of Perry Mason, with the added dimension of a political intrigue and a tormented personal story. We witness the interplay between common morality and legal correctness; sometimes following one violates the other. Lawyers operate within the law and within legal ethics, yet routinely do harmful things in pursuit of their clients’ interests. The adversarial system leads to such strategies as stringing out a case to exhaust the other side’s resources and bringing suits ostensibly because of wrongdoing by defendants but really to curtail the defendants as a competitive threat to some important client’s interest. The idea for The Good Wife came from the recurring news drama of wives standing by their husbands when scandal breaks: the wives of Bill Clinton, Elliott Spitzer, and John Edwards. Often these politicians’ spouses are themselves lawyers who have had to cope with the gray areas of legal battles and maneuvering. Following her husband’s disgrace and imprisonment, Alicia Florrick has to return to the law, which she abandoned for the sake of being a full-time wife and mother.

"In his will, Peter Laxter guaranteed his faithful caretaker a job and a place to live for life. But Laxter's grandson Sam says the deal doesn't include the caretaker's cat. When Perry Mason takes the case, he finds there's much more at stake than an old man's cat -- a million dollars to be exact. And as he investigates, he finds a web of greed and treachery among the heirs. But which one actually pulled off the almost perfect crime?"--bn.com.

Perry Mason is hired to protect Mae Farr from a presumed stalker, wealthy playboy Penn Wentworth. When Mason learns that Wentworth wants Mae for forging his name on a cheque, things get complicated. But fatal gunplay leaves Wentworth dead, Mae a wanted woman and Perry Mason in trouble.

Original essays on the metaphysics of time, identity, and the self, written by distinguished scholars and important rising philosophers.The concepts of time and identity seem at once unproblematic and frustratingly difficult. Time is an intricate part of our experience—it would seem that the passage of time is a prerequisite for having any experience at all—and yet recalcitrant questions about time remain. Is time real? Does time flow? Do past and future moments exist? Philosophers face similarly stubborn questions about identity, particularly about the persistence of identical entities through change. Indeed, questions about the metaphysics of persistence take on many of the complexities inherent in philosophical considerations of time. This volume of original essays brings together these two essentially related concepts in a way not reflected in the available literature, making it required reading for philosophers working in metaphysics and students interested in these topics. The contributors, distinguished authors and rising scholars, first consider the nature of time and then turn to the relation of identity, focusing on the metaphysical connections between the two, with a special emphasis on personal identity. The volume concludes with essays on the metaphysics of death, issues in which time and identity play a significant role. This groundbreaking collection offers both cutting-edge epistemological analysis and historical perspectives on contemporary topics.ContributorsHarriet Baber, Lynne Rudder Baker, Ben Bradley, John W. Carroll, Reinaldo Elugardo, Geoffrey Gorham, Mark Hinchliff, Jenann Ismael, Barbara Levenbook, Andrew Light, Lawrence B. Lombard, Ned Markosian, Harold Noonan, John Perry, Harry S. Silverstein, Matthew H. Slater, Robert J. Stainton, Neil A. Tognazzini

Her husband was stealing her money, while accusing her of a plot to poison him -- or so claims the frightened young Mrs. Myrna Davenport. She wants Perry Mason to find the incriminating note her husband left for the authorities accusing her of murder -- especially now that Davenport is dying. Perry finds the envelope, but it's filled with blank paper. Then Davenport does die, or so everyone thinks until his alleged corpse climbs out a window and drives away -- straight into a prepared open grave in another county. With Davenport finally dead, Perry could become a possible accessory to murder. And though the victim died twice, Perry gets only one clear shot at saving his client -- and himself.

Expanded and updated coverage of such key areas as positivism and economic methodology as well as special methodological problems and perspectives enhances this new edition of twenty-two classic and more recent pivotal investigations into the philosophy of economics.