Definition of Motif
One important motif in the book is relentless hope in the face of despair. Stevenson uses this motif as a form of pathos to convince his readers not to give up on criminal justice reform, as bleak as the picture may look. One moving instance of the motif occurs in Chapter 4, when Herbert Richardson pleads with Stevenson to take his case:
Mr. Stevenson, I’m sorry, but you have to represent me. I don’t need you to tell me that you can stop this execution; I don’t need you to say you can get a stay. But I have twenty-nine days left, and I don’t think I can make it if there is no hope at all. Just say you’ll do something and let me have some hope.
One important motif in the book is relentless hope in the face of despair. Stevenson uses this motif as a form of pathos to convince his readers not to give up on criminal justice reform, as bleak as the picture may look. One moving instance of the motif occurs in Chapter 4, when Herbert Richardson pleads with Stevenson to take his case:
Unlock with LitCharts A+Mr. Stevenson, I’m sorry, but you have to represent me. I don’t need you to tell me that you can stop this execution; I don’t need you to say you can get a stay. But I have twenty-nine days left, and I don’t think I can make it if there is no hope at all. Just say you’ll do something and let me have some hope.
Stevenson regularly takes on appeals cases in which the defendant clearly had incompetent lawyers in their initial trial. For example, in Chapter 14, Stevenson meets a man who was imprisoned for rape 18 years earlier, at the age of 13:
Unlock with LitCharts A+Joe was convicted by a six-person jury after a trial that lasted only one day. Opening statements began sometime after 9 A.M., and the jury returned its verdict at 4:55 P.M. Joe’s appointed counsel was later suspended from practice in Florida and never reinstated. The defense lawyer had filed no written pleadings and uttered no more than twelve transcript lines at sentencing. There was a great deal to say that was never said.
In Chapter 16, after a successful hearing, Stevenson encounters an old woman who calls him a "stonecatcher." Her comments are a double-layered allusion that helps make sense of the book's singing motif:
Unlock with LitCharts A+She squeezed me a bit and then said, “Now, you keep this up and you’re gonna end up like me, singing some sad songs. Ain’t no way to do what we do and not learn how to appreciate a good sorrow song."