The Other
David Guterson, 2008
Knopf Doubleday
255 pp.
ISBN-13: 9780307274816
Summary
From the author of the best-selling Snow Falling on Cedars, a dazzling new novel about youth and idealism, adulthood and its compromises, and two powerfully different visions of what it means to live a good life.
John William Barry has inherited the pedigree—and wealth—of two of Seattle’s elite families; Neil Countryman is blue-collar Irish. Nevertheless, when the two boys meet in 1972 at age sixteen, they’re brought together by what they have in common: a fierce intensity and a love of the outdoors that takes them, together and often, into Washington’s remote backcountry, where they must rely on their wits—and each other—to survive.
Soon after graduating from college, Neil sets out on a path that will lead him toward a life as a devoted schoolteacher and family man. But John William makes a radically different choice, dropping out of college and moving deep into the woods, convinced that it is the only way to live without hypocrisy. When John William enlists Neil to help him disappear completely, Neil finds himself drawn into a web of secrets and often agonizing responsibility, deceit, and tragedy—one that will finally break open with a wholly unexpected, life-altering revelation.
Riveting, deeply humane, The Other is David Guterson’s most brilliant and provocative novel to date. (From the publisher.)
Author Bio
• Birth—May 4, 1956
• Where—Seattle, Washington, USA
• Education—M.A., University of Washington
• Awards—Pen/Faulkner Award, 1995
• Currently—lives on Bainbridge Island in Puget Sound, Washington
David Guterson is the author of a collection of short stories, The Country Ahead of Us, the Country Behind; Family Matters: Why Homeschooling Makes Sense; Snow Falling on Cedars, which won the 1995 PEN/Faulkner Award, the Pacific Northwest Bookseller Association Award, and was an international bestseller; and the national bestseller East of the Mountains.
More
Like many great writers before him, David Guterson draws on the rich local culture of the Pacific Northwest for inspiration in creating unforgettable characters and settings. Guterson credits many influences on his writing, beginning with his father, Murray Guterson, a distinguished criminal defense lawyer: His father's example taught him first and foremost to choose a career he would love, which also meant making positive contributions to the world.
Guterson was intrigued by the narrative of his father's cases. He often sat in on trials, but never felt the urge to become an attorney. When he started college, after one week in a creative writing class, he decided to become a writer. He eventually studied under Charles Johnson (author of Middle Passage), developing his ideas about the moral function of literature and concluded that it is the obligation of writers to present moral questions for reflection.
As Guterson honed his skills as a writer, he sought a variety of jobs that would afford him the time to practice his craft. He narrowed it down to firefighter or English teacher, and chose to become a teacher, mainly because he wanted to surround himself with books and writers on a daily basis. He moved to Bainbridge Island in Puget Sound, teaching English at the local high school and freelancing as a journalist for Sports Illustrated and Harper's magazine.
During his years as an English teacher, Guterson discovered another one of his life's great influences. Harper Lee's To Kill A Mockingbird became his favorite book, using the structure as a basis for Snow Falling on Cedars and asking many of the same moral questions. He says of Harper Lee's only book, "No other book had such an enormous impact. I read it 20 times in 10 years and it never got old, only richer, deeper and more interesting."
Guterson's first published works were short stories, mostly about young men poised on the edge of manhood, set in the Pacific Northwest. The stories were eventually published under the title The Country Ahead of Us, the Country Behind in 1989.
Finally, after ten years of researching and writing, Guterson's first novel was released in1995. Snow Falling on Cedars is the story of a tranquil town of fishermen and strawberry farmers, captivated by the murder a local man and the resulting trial of his lifelong friend. But the novel is more than a historical novel about the internment of Japanese-Americans or an inter-racial love story. Ultimately, the narrative seeks to ask the most basic of questions. That is, in a universe so indifferent to our fate, what is the best way to endure? Readers and critics responded, and the novel won a string of awards, including a Barnes and Noble's Discover Great New Writers distinction and the 1995 Pen/Faulkner award.
Guterson's sophomore release in 1998 may have had some large shoes to fill, but the beautifully written East of the Mountains treated readers to a story of rebirth, set in the lush apple orchards of the Pacific Northwest. The novel details the final journey of a dying man's determination to end his life on his own terms, and contains Guterson's signature style of lustrous, emotional prose.
Fans of Guterson had to wait five more years for the 2003 release of Our Lady of the Forest, but readers and critics agree it was worth the wait. Guterson allows his characters to be all-to-human in this story of a young runaway who develops a following of believers after she reports seeing the Virgin Mary in the forest. His characters lust, fail and do the wrong thing, and even the landscape is imperfect in this suspenseful tale of what happens when one's faith is called into question. Classic Guterson.
Extras
• When he won the 1995 Pen/Faulkner award for Snow Falling on Cedars, Guterson quickly recognized the reclusive Harper Lee's To Kill A Mockingbird for his success. He wrote to Lee asking her to come to the award ceremony in Washington, D.C., but being a highly private woman, she didn't attend.
• Snow Falling on Cedars was adapted for a 1999 film of the same title, directed by Scott Hicks and starring Ethan Hawke. The movie received an Academy Award nomination for cinematography. (From Barnes & Noble.)
Book Reviews
The sad, enigmatic story of Mr. McCandless was recounted with enormous sympathy and skill by Jon Krakauer in his 1996 book, Into the Wild...[and] Mr. McCandless’s story now seems to have inspired a novel by David Guterson, The Other, which moves the narrative to the author’s native Pacific Northwest.... It’s hard for the reader to understand why Mr. Guterson...would want to reinvent such a well-known and well-told story. And while he has created an engaging enough voice for his narrator, Neil Countryman, much of his novel feels derivative and overly familiar.... Worse, some of the theories advanced in this novel to explain John William’s withdrawal from society seem overly pat and reductive.
Michiko Kakutani - New York Times
Mesmerizing, even heart-breaking...vivid...David Guterson explores the fissures in our divided souls: Attachment vs. alienation; moral behavior vs. expediency; joy vs. suffering.... The Other examines the dilemma that has confounded sages and saints for millennia: whether to engage in our tormented world, or turn our faces from it.... By indelibly capturing the Seattle of the 1970s and ’80s, [the novel] becomes a testament to the city’s breathless transition from a quirky, idiosyncratic town of working- and middle-class families to a metropolis for the nouveau-techno riche.... With fine-grained details, Guterson displays his near-photographic memory for the fading details of our city’s heritage. [He] is equally eloquent on the raw terrain of the Olympic Peninsula.... The Other stayed with this reader for days after finishing the book. [The narrator] Neil Countryman is a rich, complicated Everyman.... And [his best friend] John William must go down as one of the saddest figures in contemporary literature–a bright young man swallowed by his own darkness. Most of us have a friend or loved one who dropped out, checked out and faded away. Could we have saved them? By choosing a different path, have we saved our own skins/souls, or merely preserved them? These are the questions The Other raises. Readers will spend a long time thinking about the answers.
Mary Ann Gwinn - Seattle Times
In 1972, two Seattle teens, working-class Irish boy Neil Countryman and tortured trust funder John William Barry, bond over their love of adventuring in the Northwest’s vast wilderness. Countryman, who continues on to college, marriage, and a career teaching high school English, narrates the story of helping Barry drop out of society to live a hermit’s life ‘without hypocrisy’ in a remote, self-excavated cave. [This plot] is the perfect scaffolding to support Guterson’s absorbing meditation on what it means to grow up, sell out, and lead an honest life.
Entertainment Weekly
Guterson (Snow Falling on Cedars) runs out of gas mulling the story of two friends who take divergent paths toward lives of meaning. A working-class teenager in 1972 Seattle, Neil Countryman, a "middle of the pack" kind of guy and the book's contemplative narrator, befriends trust fund kid John William Barry—passionate, obsessed with the world's hypocrisies and alarmingly prone to bouts of tears—over a shared love of the outdoors. Guterson nicely draws contrasts between the two as they grow into adulthood: Neil drifts into marriage, house, kids and a job teaching high school English, while John William pulls an Into the Wild, moving to the remote wilderness of the Olympic Mountains and burrowing into obscure Gnostic philosophy. When John William asks for a favor that will sever his ties to "the hamburger world" forever, loyal Neil has a decision to make. Guterson's prose is calm and pleasing as ever, but applied to Neil's staid personality it produces little dramatic tension. Once the contrasts between the two are set up, the novel has nowhere to go, ultimately floundering in summary and explanation.
Publishers Weekly
In his fourth novel, PEN/Faulkner Award winner Guterson (Snow Falling on Cedars) constructs a sensationalistic story that in other hands might have emerged as a page-turning potboiler. Here, events unfold in exquisitely refined prose, which creates a plot as believable as any quotidian workday while evoking an unforgettable sense of place in its depiction of Washington State's wilderness. Middle-aged narrator Neil Countryman, lately the recipient of an enormous and unexpected inheritance, traces the roots of this windfall back to an equally unexpected encounter at age 16 with a fellow runner on a Seattle high school track field. Bonded by a mutual love of the outdoors, working-class Neil and wealthy John William Barry become lifelong friends despite cultural disparities. The bond holds as their adult paths diverge, Neil choosing to teach while John William retreats to a hermit's life in remote woodlands. When Neil agrees to help his friend disappear, haunting questions of values, responsibility, and choice leave Neil-and the readers of this provocative fiction-to ponder the proper definition of a good life. Recommended for most fiction collections.
Starr E. Smith - Library Journal
Guterson’s novel of friendship and ideas is a moving meditation on choices, sacrifices, and compromises made in search of an authentic life. —Kristine Huntley
Booklist
In this philosophically provocative and psychologically astute novel, two boyhood friends take very different paths: The richer one renounces all earthly entanglements, while the poorer one becomes unexpectedly wealthy beyond imagination. Once again, Guterson (Our Lady of the Forest, 2003, etc.) writes of the natural splendor of his native Pacific Northwest, though the ambiguity of isolating oneself in nature, rejecting family and society in the process, provides a tension that powers the narrative momentum to the final pages. There are parallels between this story and Jon Krakauer's nonfiction book Into the Wild, as the novel relates the life and death of John William Barry, whose mother and father come from two of Seattle's wealthiest families, but who forsakes his elite destiny to achieve posthumous notoriety as "the hermit of the Hoh." What distinguishes Guterson's novel is the narrative voice of Neil Countryman (perhaps an unfortunate surname), who has been Barry's best and maybe only friend since the two competed at a track meet. On a hike into the wildness, Barry forces his blue-collar buddy to swear a blood oath never to reveal this secret spot to anyone. That oath is tested when Barry disappears from society and enlists his friend's complicity in covering his tracks. The first one in his family to attend college, Countryman becomes an aspiring writer who supports himself as a high-school English teacher, and who marries and raises a family. Yet if Barry is ostensibly "the other" of the title, so is Countryman, whose bond with a friend who may have a severe (possibly hereditary) psychological disturbance seems stronger than the one he shares with anyone else. Ultimately, Barry rewards Countryman for the latter's complicity in keeping a secret and helping the hermit sustain himself, but the greater reward for Countryman is the material that becomes this book. When a novelist scores as popular a breakthrough as Guterson did with Snow Falling on Cedars, a long shadow is cast over subsequent efforts. Here, he succeeds in outdistancing that shadow.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for The Other:
1. What explains John William's retreat from civilization into the wilderness of the Pacific Northwest? What theories does Neil Countryman put forth? Are they convincing?
2. Discuss John's mantra, "No escape from the unhappiness machine." What does he mean?
3. How does Neil view his friend John early on? Does he admire him...think him foolish...idealistic...what?
4. Neil eventually senses John's troubled psyche and watches him descend into something akin to the early "hominids [he'd] read about in Introduction to Physical Anthropology." Neil goes on to say that "anyone with the poor luck to come across [John] could not be blamed for assuming he'd gone comically mad, or maybe dangerously mad." Yet Neil never calls John's father, and he even conspires with John in his dangerous plan. What responsibility does Neil have toward John...or toward John's father? To what degree is Neil at fault for the ensuing tragedy? Eventually, when Neil explains his failure to get help for John, do his explanations sound convincing?
5. What about the fact that the authorities fail to investigate Neil's role in John's disappearance or the fact that Neil stands to inherit John's fortune? Do you find that plausible?
6. How does Guterson portray the Pacific Northwest's wilderness. Does he present its dangers, its allures, its beauty?
7. Who in this book do you find most sympathetic?
8. Have you read Jon Krakauer's Into the Wild, which is based on the true life tragedy of Christopher McCandless's death in the wilderness. If so, how are these two works similar or different? Do you prefer one over the other?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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