by Naomi Elana Zener
|Iguana Books, 2014
Reviewed by Alan Senatore
Deathbed Dime$ tells the story of thirty-two-year-old Joely Zeller, an estates attorney, who tries to distance herself from her privileged upbringing and earn success on her own terms and through her own work. Born to a Hollywood director and actress, she finds her calling in the courtroom as opposed to on the movie set. Upon graduation from law school, she finds work with a well-established New York law firm and leaves behind her family and friends in California. She tries her best to become partner at the firm, only to be passed over for a less qualified colleague. After the career disappointment, further tragedy strikes as her love life crumbles and she is left to reinvent and discover her true self by embracing the family and friends she left behind. This is where the fun begins, so to speak.
Naomi Elana Zener takes us through Joley’s attempt to gain control of her life by overcoming discrimination in work, love, and life. Deathbed Dime$ reads like simple light comedic fare through the detailing of the super-heroine’s trials and errors while establishing herself as the premier estates attorney in California (if not the world) as well as accepting the love she truly deserves (a wildly successful, handsome, smart lawyer like herself, Ethan Berg, who she happens to have been friends with for years and has loved her for about just as long even though she constantly ignores his attempts to foster that love with her). On the other hand, Deathbed also ends up dealing with cultural, sexual, and racial stereotypes.
The story is set around a bunch of white people with few flaws (other than having lots of sex at work and shopping too much) and doing whatever they please. In fact, the only characters of color are relegated to service roles as limousine drivers and as lesser personnel in the workplace. Though this at first appears offensive, it could be interpreted as commentary for the actual lack of racial diversity in law and entertainment. Zener does place an Asian-American woman in a prominent role, Coco Hirohito, as Joley’s best girlfriend and colleague, but a prominent black judge/congressman/businessman could still have been incorporated.
Though racially Zener misses, her commentary on cultural stereotypes proves more interesting. Joely is of Jewish heritage. Her profession is law and her parents are both in the entertainment business, both particulars fulfilling stereotypes. In one instance in the story, Joely is ignoring a fellow flight passenger until she realizes she could earn a fortune off of the young woman’s case and jumpstart her career. Remembering the girl’s name from files she had seen, Joely remembers the case’s potential:
I knew why her name was familiar. Esty was the long lost niece of Ivana Iretzki, the dead woman at the heart of my former firm’s new estate case. She was the heiress no one could locate. I tuned out of Esty’s rambling and tried to recall the details of the Iretzki file…
Later, in an odd blend of the law and Hollywood, Joely and other members of Joely’s new jumpstart law firm are walking down the red carpet for a Hollywood premiere. Her nemesis, the “Lazy, entitled , super WASPy and Mein Kampf-totting” Chip Hancock, the same person who was picked for partner over her by her former employees, also is on the red carpet. He refers to her through a racial slur and she subsequently punches him in the face. Zener deals with these themes unclearly. Nowhere in the story does it become clear that Chip is a Nazi other than when Joely needs him to be because he is her nemesis. It is unclear if Joely is a victim of discrimination or part of the perpetuation of it. Referring to her status in her former firm she claims, “I’m a Jewish woman ticking off diversity quotas for their boys’ club.” Yet, she uses discrimination as well. It appears she is less the protector of the Jewish culture and more a creation from its stereotypes.
Of most importance to this story is the commentary offered on women and their sexuality. It is a constant battle between giving in to sex and remaining focused on a career. Her relation with Ethan exemplifies this as an employee at their jumpstart law firm points out:
“Joely, you walk around here like the Queen of Sheba. You have Ethan twirled around your little finger and even though you don’t want him, you won’t let him be happy with anyone else.”
Joely is constantly at odds with her desire for love and need for a successful career. Throughout much of her life and the story she is pushing away love to ensure her success as an individual. She is able to turn down sexual advances on a number of occasions in order to keep focused on her new law firm. On the other hand, she has had a sexual relationship with her law professor that ended in heartbreak. Her Asian side kick sleeps with partners at her former firm and ends up trying to use it to her advantage:
“I’ll still be offered partner. But I had to blackmail the managing partner after I dumped him. Unfortunately, ex-wife number three was his former secretary and still friends with all of the firm’s support staff. Needless to say, the word of our affair spread through the firm faster than a California wildfire. So now I’m a triple threat: female Asian attorney who sleeps her way to the top.”
Even with all of the tools for a career or job, the stigma of sexual promiscuity can interrupt a woman’s career according to Deathbed.
Though Joely is for the most part infallible, which destroys any aspect of suspense in Deathbed, only stereotypes can hold her back. But Joely is so smart and attractive nothing can stand in her way except for her own inhibitions, but Zener doesn’t let Joely ever fail enough for the reader to think that something actually might not work out for the character. Zener created a superwoman whose kryptonite is wanting the best for herself. Who can relate to this kind of character? Who wants to? In the end, Joely is feels like a brunette version of a Barbie doll with an I.Q of 190. I found myself rooting against her.
Deathbed Dime$ reads really easily, and it is obvious Zener did her research for the content of the story. Zener’s message remains unclear for the stereotypes she addresses; it appears that she does recognize many issues, but if she could have championed them better. In the end, Joely is not a good representative of women; in fact, she is the type of image that causes unrealistic ideals.