From School Library Journal
Adult/High School—Blue-collar Neil Countryman meets Seattle blue-blood John William Barry while running track. The novel opens with a lot of references to 1970s pop culture: television shows such as The Man from U.N.C.L.E. and Get Smart, and athletes and celebrities like Steve Prefontaine, Carl Lewis, the Doobie Brothers, and Gerald Ford. Guterson describes Neil and John William's generation as "slightly late for the zeal of the sixties and slightly early for disco." He depicts a 34-year friendship that survives their many differences. It starts out with a shared love of nature, running, and hiking the Olympic Mountains. But as they mature, the men drift in different directions. As the first Countryman to attend college, Neil takes his education seriously and chooses a traditional life. In contrast, John William drops out of school, decries hypocrisy, studies philosophic thought (most notably Gnosticism), and retreats into a life in the Olympic forest, in a bit of a Thoreau-like existence. His mental state is most certainly fragile, likely inherited from his mother. But in spite of their differences, Neil honors their "blood pact," hiking in food, supplies, and companionship, and, most importantly, he honors John William's desire to keep his location a secret. The 1970s setting will hook teens in the opening, and the lyrical description of the Olympic Mountains forest will keep them reading. The biggest draw, however, will be the themes of friendship and loyalty, and how they survive through the years.—Paula Dacker, Charter Oak High School, CA
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Critics had sharply divided reactions to The Other. Though most praised Gutersonâs eloquent prose and lush descriptions of Washington State, the Oregonian considered the novel âdawdly and overwritten.â Several critics bemoaned the inertia of the two friends, while others deemed the protagonists well-rounded and sympathetic. The critics fell primarily into two campsâ"those who were captivated by Gutersonâs philosophical questions about individual conviction and identity and those who felt that his moral queries could not overcome a lagging plot and one-dimensional characters. Gutersonâs heartrending portrayal of male friendship may not rise to the level of his critically acclaimed debut novel, Snow Falling on Cedars, or even Jon Krakauerâs Into the Wild, but it may still be a worthy exploration of the choices and compromises we make in a modern world.
Copyright © 2004 Phillips & Nelson Media, Inc.
Guterson (Snow Falling on Cedars, 1995) follows two friends as their lives take different courses. Neil Countryman and John William Barry meet at a high-school track event in the 1970s. Neil, a working-class boy constantly running races he knows he’ll lose, and John William, a wealthy, misunderstood only child obsessed with Gnosticism, forge an unlikely friendship over trips into the wilds of Washington state. While Neil embarks on a traditional life, attending college and backpacking in Europe, John William retreats from society, excavating a cave in the Hoh Valley, where he hopes to live free from the pressures of modern civilization. Once Neil realizes that his friend is serious about his Thoreauesque endeavor, he sets about helping John William, bringing him food and books and becoming an accomplice in his plan to conceal his whereabouts from his family. As the story shifts between past and present, Neil tries desperately to understand the friend he feels responsibility for even as their lives drastically diverge. Dense but involving, 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
Review
“EW Pick. 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. A.”
–Karen Karbo, Entertainment Weekly
“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, The Seattle Times
“The Other features an unclaimed $440 million inheritance and a mummified corpse found in Washington’s Olympic Mountains, but it’s no murder mystery. Guterson uses these circumstances as the backdrop to [a] tale of two Seattle friends [who] forge an unlikely friendship . . . With prose that’s as careful and quiet as a mountain lion, The Other asks, and helps answer, two of life’s most perplexing questions: How do we live in an imperfect world, and what are our obligations to those we love?”
–Steven Rinella, Outside
“[Guterson’s] most brilliant and provocative novel yet. . . . He presents the reader with the quintessential questions of value and choice that shape life. It contains all the elements of youth, idealism and compromise, by paralleling two very different lives.”
–Bill Duncan, Roseburg (Oregon) News-Review
“PEN/Faulkner Award winner Guterson 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. . . . Bonded by a mutual love of the outdoors, working-class Neil [Countryman] 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.”
–Starr E. Smith, Library Journal
“Life presents crucial choices, although often they are not recognized as crucial at the time. Pick this course, choose that person, follow this instinct, postpone that decision–all can have profound effects on a life. This theme is the underpinning of David Guterson’s strong and evocative new novel, The Other [which] uses the unlikely friendship of two Seattle men to examine such important concerns as the formation of character, the influence of family, the choice of vocation, the allure of alternatives. . . . The Other has its roots in Robert Frost’s much-quoted poem, ‘The Road Not Taken.’ Guterson underscores that link by having the novel’s narrator–English teacher Neil Countryman–do an annual recitation of the Frost poem at high school graduation. . . . What shines brightly throughout The Other is Guterson’s resonant ability to evoke the delights and contradictions of Seattle and its surrounding territory. This novel is a native son’s love song to the Seattle in the later stages of the 20th century. A greasy burger at Dick’s is celebrated, as is the grandeur of the North Cascades. In Countryman and [his best friend, John William] Barry, Guterson captures many conflicting courses in Seattle life (and perhaps in his own character): city vs. country, civilization vs. wilderness, comfort vs. hardship, constancy vs. change, attachment vs. disengagement. . . . This fine, searching novel represents the mature talent of one of the Northwest’s leading writers.”
–John Marshall, Seattle Post-Intelligencer
“[A] must-read . . . The story of two boys, John William and Neil . . . John William pulls a Holden Caulfield and decides to turn his back on all his privilege and move deep into the woods. Neil is then left to erase John William’s trail–and see how long he can keep John William’s new life as a hermit secret.”
–Marisa LaScala, Westchester Magazine
“The provocative tale of two childhood buddies who take very different paths as adults. . . . John William Barry decides to drop out of society entirely [and] enlists Neil [Countryman]’s help to disappear, which turns out to be a complicated and tragic endeavor.”
–New York Post
“Involving . . . Guterson follows two friends as their lives take different courses. Neil Countryman and John William Barry first meet at a high-school track event in the 1970s. . . . While Neil embarks on a traditional life, pursuing a college degree and meeting a girl while backpacking in Europe, John William–a wealthy, misunderstood only child–retreats from society, excavating a cave in a remote part of the Hoh Valley where he hopes to live free from the pressures of modern civilization. Once Neil realizes his friend is serious about his Thoreauesque endeavor, he sets about helping John William and becoming an accomplice in his plans to conceal his whereabouts from his family. As the story shifts between past and present, Neil tries desperately to understand the friend he feels responsibility and kinship for even as their lives drastically diverge. . . . 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 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 . . . 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, who has been Barry’s best and maybe only friend . . . 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 (starred)
About the Author
David Guterson is the author of the novels Snow Falling on Cedars, East of the Mountains, and Our Lady of the Forest, as well as a story collection, The Country Ahead of Us, The Country Behind. A PEN/Faulkner Award winner, he is a cofounder of Field’s End, an organization for writers in Washington State.
Excerpt. © Reprinted by permission. All rights reserved.
No Escape from the Unhappiness Machine
I attended Roosevelt (the Teddies, Teds, or Roughriders), a public high school in North Seattle, while my friend John William Barry was a student at Lakeside, our city’s version of an East Coast private academy like Phillips Exeter or Deerfield. Besides slumping at my desk all day and getting high in Cowen Park at lunch, I also ran the 880—today called the eight-hundred-meter or the half-mile—for the RHS track team. It was a good niche for me. You didn’t need to be fast or have the wind of the distance runner. Mostly what you needed was a willingness to sign up. As a sophomore in 1972, I was a good enough half-miler to represent RHS with a time of 2:11.24. To put this in context, the world record in ’72 for the half-mile was held by Dave Wottle, with a time of 1:44.30. Roosevelt’s best half-miler of all time is Chris Vasquez, ’97, at 2:01.23. This is a race that takes runners twice around the red cinder oval found behind many high schools—I say this so you can imagine me losing to Vasquez by about thirty yards, or think of me still rounding the last bend, at the far end of the grandstands, while Wottle is crossing the finish line, arms raised victoriously. Either is a useful picture of me—of someone intimate with the middle of the pack. There’s good and bad in that.
I remember one race more vividly than others. It’s ’72, so Nixon is president, though he and everything else, the world, seem far away from Seattle. I’m sixteen and wear my hair like Peter Frampton’s and a mustache like Steve Prefontaine’s. (Because of this mustache, I’m sometimes referred to at school as “the Turk,” after the guy in the Camel cigarette ads. I’m not Turkish, but my mother’s father, whom I never met, was what people call Black Irish, and possibly I inherited his coloring.) I’ve got on hi-cut satin shorts and a satin jersey emblazoned with Roughriders, and I’m at the starting line along with seven other runners, six with better qualifying times than mine. Despite them, I’m a believer that if the ninety-nine-pound mother in the apocryphal story can lift the front end of a Volkswagen off her crushed toddler, I can win today.
I’ll dispense with the obligation to describe the weather—whether or not it was a sultry afternoon, with clouds of newly hatched mayflies above the track, or a windless May day smelling of moist turf and mown grass, is beside the point—and cut, literally, to in medias res: the eight of us stalwart and tortured young runners rounding the third curve of a high-school track and coming up on 250 yards. It’s my usual MO—out front early and counting on adrenaline to keep me there, but with heels nipped and a sinking feeling that’s anathema to winning. A race is a conversation with yourself, motivational in quality, until somebody interrupts by pulling away from you, and then it becomes an exercise in fathoming limits. Losing is like knowing that, in the movie scene where a thousand die but the hero lives, you’re one of the obliterated.
The right track term is “running in a pack.” That’s us—a band of runners hardly separated. One keeps exhaling humidly on my shoulders. Another’s left forearm hits my right elbow on its backswing. A runner pulls up beside me—the way a freeway driver pulls even in the adjacent lane to take your pulse—and I assess his chances with a panicked glance. Not strictured yet; striding with more ease than I feel; biding his time; relaxed. Working up a freshly adrenalized surge, I gain a quarter-step on him, but purchased with the last of my reserves.
The early leader in a half-mile race rarely crosses the finish line first. But he wants to have had the experience of leading—that’s part of it—and he’s perennially hopeful that, this time, things will be different in the home stretch. I still feel that way in the early part of curve three: that I might have heretofore undiscovered deposits of leg strength and cardiovascular capacity, not to mention will, at my disposal, all this against the grain of my foreboding. It turns out that my foreboding makes sense; at the curve’s apogee, I know I’ll flag, and with that, the flagging happens. Three runners pass me, going strong.
I’m needled by regret. Why don’t I have a better strategy than running as fast as I can from start to finish? I’ve squandered my energy; I’ve incurred too large a deficit. But it isn’t in me to plan; I just run, as my coach says, on unfocused emotion. These other runners, by the halfway mark—end of lap one, where we’re lashed on by friends and exhorted by teammates, a small fire zone of screaming and technical advice—are just stretching out and finding a rhythm, while I’m already in a battle with depletion. I drop to sixth, dragging with me a familiar sense of failure.
Then, on the back stretch, the runner in seventh tries to pass me, too. To anybody watching we’re in a pointless and even pathetic battle between losers, but for me what’s happening feels critical. Against good tactical judgment—it’s a move that slows you—I indulge in another assessment of an opponent: like me, long-haired; like me, in earnest; like me, goaded forward by, the word might be, convictions. In other words, this runner is approximately my doppelgänger.
Ask any track coach. The half-mile is a race for unadulterated masochists. Neither a sprint nor a distance event, it has the worst qualities of both. It’s not a glorious race, either. A lot of people can name a sprinter or two—Carl Lewis, for example—or a famous miler like Roger Bannister, but can very many name even a single half-miler? No athletic romance attaches to the half-mile. It’s not a legendary or even notable feat to beat other runners over 880 yards. At track meets, the half-mile contest is somehow lost between more compelling competitions, an event that unfolds while fans thumb their programs or use the bathroom. Into this gap of a race, this sideshow, step runners in search of a deeper agony than they can find elsewhere. They want to do battle with suffering itself. It’s the trauma they want, the anguished ordeal. It’s the approximately two minutes of self-mortification or private crucifixion. All half-milers have a similar love of pain. So this race is an intimation and an opening. In two minutes’ time, you get a glimpse.
I do, on the afternoon I’m telling about. There’s a kind of synchronicity that can happen in a running race, and it happens now. We run in tandem, my near doppelgänger and I. In running parlance, we match strides. I’m measuring him, as he, no doubt, is measuring me—all the while throwing ourselves forward into fresh pain, so that there are two perceptions, pain and the close presence of another agonized half-miler. In parallel this way, and canceling each other out, we’re neither of us ahead or behind for maybe forty-five seconds. That’s an unusually long time to run neck and neck in the 880. I’m oxygen-deprived, so everything looks well lit and startling, and from this perspective I see what I probably wouldn’t see otherwise. This guy, right here, running next to me, is a version of me. We both feel, romantically, that our running is transcendent. How do I know this? From running alongside him. I also have the benefit of hindsight.
Thirty-four years have passed, but I still remember how, in the final five yards, my double frees himself—like a shadow in a cartoon or a mirror-figure in a dream—and beats me by three-quarters of a stride.
I’m bent over and spent, my hands on my knees after the race, breathing hoarsely and looking at the ground, when he comes over to shake my hand with what I think at first is a grating sincerity. The grip is vigorous. The expression is heartfelt and, post-race, ruddy. The stance is upright, the posture exclamatory. This is gracious victory personified, and for a moment I think—it says Lakeside on his jersey—that what I’m seeing is obligatory patrician good manners, a valorous lad with his cursory and vapid Victorian Well done! while his heaving breath subsides. But no. He’s just fiercely putting forward what he feels—he’s honest. There’s a sentiment to be noted, life is short, and he doesn’t want to just pass by. “Thanks for the push,” John William declares, between bouts of sucking wind. “I just about died.”
That’s how I met the privileged boy who would later become “the hermit of the Hoh”—as he’s been called by the Seattle newspapers this spring, in articles mentioning my name, too—that loner who lived in the woods for seven years and who bequeathed me four hundred and forty million dollars.
...
My name’s Neil Countryman. I was born in this city of wet, high-tech hubris, which was called, at first, maybe with derision, “New York Alki,” meaning “New York Pretty Soon” in Duwamps. Besides me, there are seventeen Countrymans in the Seattle phone book, and all of them are my relatives—my father’s two brothers; their sons, grandsons, and unmarried granddaughters; and my two sons. We’re close-knit, as we sometimes say about ourselves. Over the years, we’ve closed ranks around deaths, accidents, follies, and addictions. On the other hand, we shy away from intimacy as if such shyness was a value. We don’t ask each other the more difficult questions. I’m generalizing, of course, but a Countryman who wants to go his own way will find, among his relatives—universally on the male side—straight-faced if sometimes dishonest approval. Clannish as we are, we believe in privacy, even when it̵...
