"In the 1990s when I was watching reruns of The Fugitive on the
Arts and Entertainment Network twice a day, I couldn't take my eyes
off it. . . . No one in The Fugitive ever relaxes as you watch and
you can't relax either, even though for long stretches absolutely
nothing happens. It was the combination of nonstop tension with the
(relative) absence of slam-bang action that attracted me, and as I
now reflect on it, the same combination characterizes the literary
works I have been reading and writing about for more than
forty-five years."—Stanley Fish, from the Introduction In the
stark television drama The Fugitive, Dr. Richard Kimble, an
innocent man convicted of murder, is on the run from the police and
in pursuit of the real killer. The award-winning show, which aired
on ABC from 1963 to 1967 and inspired a 1993 blockbuster movie,
still has many devoted fans, none more passionate than literary and
legal theorist and intellectual provocateur Stanley Fish. In The
Fugitive in Flight, Fish examines the moral structure of the
long-running series and explains why he thinks this may well be the
greatest show ever aired on American network television. Analyzing
key episodes, The Fugitive in Flight goes beyond plot summaries and
behind-the-scenes stories. For Fish, the real action of The
Fugitive takes place in confined spaces where the men and women
Richard Kimble encounters are forced to choose what kind of person
they will be for the rest of their lives. Kimble is the catalyst of
such choices and changes, but he himself never changes. Breaking
free from the political and social problems of his time, he is
always the bearer and exemplar of the very middle-class values
informing the system that has misjudged him. Kimble is the perfect
representative of a mid-twentieth-century liberalism that values
above all independence, personal integrity, and the refusal to
surrender oneself to obsessions or causes. He is so consistently
faithful to his liberal vision of life that he displays both its
virtues and its dark side, the side that flees attachments,
entanglements, responsibilities, and human connections. Stanley
Fish's Richard Kimble is the ultimate man in a gray flannel suit,
even when he is wearing a windbreaker and walking down a dark,
lonely road.
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