Mistress of Justice
Taylor Lockwood juggles twin careers as a struggling jazz musician in seedy Manhattan clubs and a paralegal at the genteel Wall Street law firm of Hubbard, White & Willis. When a multimillion-dollar promissory note is stolen from his office, Mitchell Reece, a young trial lawyer, desperately enlists her aid to save both his career and, very possibly, the firm itself. Taylor agrees, intrigued by both the brilliant attorney and the offbeat assignment. As she plays detective, she learns that beneath the Victorian facades of the firm and its partners are simmering caldrons of dark secrets that increasingly blur the line between business and pleasure, and life and death.
The nonstop action in “Mistress of Justice” moves from tension-filled courtrooms to East Village performance spaces, from Hell’s Kitchen bordellos to lavish country homes and hushed Midtown clubs where careers, and even lives, are manipulated like so many business deals. The firms, the families and their money may date from the last century, but the ambition and greed are totally up to date and mean nothing but danger for a young upstart like Taylor Lockwood — danger in more ways than she can guess.
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Jeffery Deaver
Long before The Bone Collector introduced the calculating brilliance of Lincoln Rhyme to readers around the world, Jeffery Deaver was already quietly assembling the tools of his trade: a fascination with psychology, a sharp legal mind, and a love of music that taught him how to pace a story like a song, with rising tension, sudden drops, and crescendos that leave you breathless.
Born outside Chicago in 1950, Deaver’s path to becoming one of the most inventive voices in modern crime fiction wasn’t linear. He studied journalism, practiced law, and even considered a career in folk music before finding his stride in fiction. That varied background seeps into his novels, where legal nuance, technical precision, and psychological complexity collide in plots that are always one twist ahead of the reader.

