I try to avoid consulting reviews before I read a book, preferring to come to it with an uninfluenced mind. In the case of Reversible Errors I struggled to page 150 before abandoning my principles, whereupon I discovered a number of other readers who had suffered similarly.
Scott Turow made his reputation, and first seduced me, as a skilled purveyor of courtroom dramas. Sadly, it now looks as though success has gone to his head, tempting him to essay The Great American Novel. Reversible Errors begins with a suggestion that a murder conviction may not have been valid. Presumably, the novel ends in the court room, but far from being the substance of the story the pursuit of innocence becomes merely an excuse to investigate the problems and neuroses (and there are many) of the conflicting characters (and there are many). From chapter to chapter, the focus changes so that the reader, confronted say with 'Muriel', has to turn back several chapters to reconnect with that strand. The technique stalls the narrative flow. So, too, does the psychological interpretation of words spoken or thought within the chapters.
Reversible Errors is certainly a page turner, but the turning is back. Turow's reputation suffers in parallel.