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Synopsis

From the author of the bestselling Snow Falling on Cedars, a coming-of-age novel that presents two powerfully different visions of what it means to live a good life and the compromises that come with fulfillment.

John William Barry and Neil Countryman shared a love of the outdoors, trekking often into Washington's remote backcountry where they had to 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. When he enlists Neil to help him disappear completely, Neil finds himself drawn into a web of agonizing responsibility, deceit, and tragedy—one that will finally break open with a wholly unexpected, life-altering revelation.

Excerpt

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 it’s obvious that someone you love is making a terrible mistake.

As a boy I enjoyed, with my sister, Carol, Laugh-In, Get Smart, and The Man from U.N.C.L.E. We lived in a ranch house in the northeast part of town, modern for its time and built by my father, with an intercom system my mother used to call Carol and me from the rec room. My family went on summer vacations in-state, sometimes to Ocean Shores, but always to Soap Lake, in the sagebrush interior, where we would join other Cavanaughs—my mother was a Cavanaugh—for an annual rendezvous. At Soap Lake, my mother liked to loll around on a blow-up mattress and drink Tab. Once, I lost a beach ball in the wind, and by the time I noticed, it was a quarter-mile out. My mother brought it back, breathing hard but looking athletic. I remember how surprised I was, when I was eight, to see her so competent on a pair of skis at Alpental. I was under the impression that we’d gone to Alpental so that Carol and I could slide down a hill on inner tubes while our parents stood around with their hands in their pockets, but instead my mother, on rentals, disappeared up a chairlift and materialized much later to spray snow at my father with a stylish hockey stop. My father brushed off the snow as if it was lint on a tuxedo, which was his idea of humor. He was compact, with a recessed hairline and long sideburns, tight-lipped when corrected, and famous among my cousins for his forearms, which bulged like bowling pins. I remember him stretched out on the Cavanaughs’ steep roof after it was damaged by a fallen tree, his head downslope, a hammer between his teeth, reaching with his left hand to start a nail by stabbing it into a rafter until it stuck there. My father was a finish carpenter first, but he was also a pack rat. He brought home, from his jobs, used refrigerators and freezers, washers and dryers, coils of plastic pipe, and rolls of scavenged wire, and stored it all in our backyard under an open-air shed he’d built out of salvaged materials. When he got older, he drove a Corolla, but he didn’t listen to its radio very much, because, as he said, it was more interesting to listen to its motor. He also felt it was useful to smoke a Camel before heading for the bathroom. When I asked him if he got bored in there, he told me he read the Post-Intelligencer, starting with the obits, first to see if anyone he knew had “kicked,” second to mull the ages of the deceased in relation to his own years, so that he’d remember not to feel sorry for himself.

For a while, my mother sang with the Merry Mavericks—about a dozen men and women with a Peter, Paul and Mary look but an Up with People sound. They performed at Christmas in the Food Circus at the Seattle Center. My mother was a soloist. Hitting her high notes, she sounded like Judy Garland. I remember her coming off the stage dressed in red-and-green satin and taking Carol and me across the food court for caramel corn. Carol and I were glad when all of this was over, because we only liked pop tunes. In fact, the first album I bought, the summer after eighth grade, was Bread’s On the Waters, because “Make It with You,” sung by David Gates in falsetto, moved me. In wood shop, I built speaker cabinets out of low-grade walnut, then installed tweeters, woofers, and de rigueur large woofers from SpeakerLab. I traded a cousin some speakers like this for a battered drum set, and he showed me how to play the opening licks, complete with cowbell, of “Honky Tonk Woman.” For two years, I washed dishes at a Mexican restaurant for $2.65 an hour, partly to fund drum lessons from a burned-out but still-hip jazzman. I kept a fish tank in my room, went bowling sporadically, and played hockey on roller skates. I had a normal interest in girls, which I admit is a declaration dispensing with the subject, so I will add that I was the sort of hapless boy who came away from cheap encounters with the blues.

John William and I were of the generation that was slightly late for the zeal of the sixties and slightly early for disco. The most popular song, I think, in ’74, was “Takin’ Care of Business” by the Bachman-Turner Overdrive, though the Doobie Brothers were also esteemed. In Seattle, white guys wore flares, shags, and Pacific Trail jackets; white girls wore sailor pants or 501 jeans and let their hair fall around their faces. We were seven when JFK was killed, twelve when King was killed, and fourteen when four students were killed at Kent State, but by the time we were old enough to fathom “the Zeitgeist” (a term getting play in ’74), there was détente, H-bomb drills were quaint, and there was no more draft. Always on the front page of the Seattle Times was inexplicable news, for a teen-ager, of tariffs and wage and price controls. Who cared? Gerald Ford became president in ’74 and began hitting people with golf balls, apparently, thousands of miles away from Seattle. Everything, in fact, was thousands of miles away from Seattle. It was the portal to the North Pacific. It was where you outfitted to travel in Alaska, gateway to the Last Frontier.


From the Hardcover edition.
David Guterson

About David Guterson

David Guterson - The Other

Photo © Tom Collicott

David Guterson is the author of five novels: Snow Falling on Cedars, which won the PEN/Faulkner and the American Booksellers Association Book of the Year Award; East of the Mountains; Our Lady of the Forest, a New York Times Notable Book and a Los Angeles Times and Seattle Post- Intelligencer Best Book of the Year; The Other; and Ed King. He is also the author of a previous story collection, The Country Ahead of Us, the Country Behind; a poetry collection, Songs for a Summons; and two works of nonfiction, Family Matters: Why Homeschooling Makes Sense and Descent: A Memoir of Madness. The recipient of a Guggenheim Fellowship, he lives in Washington State.
Praise

Praise

“Gorgeous, haunting.... A deeply considered tragedy of social alienation and hubris.”—The Washington Post Book World“A finely observed rumination on the necessary imperfection of life. . . . [Guterson's] books keep getting better.” —The New York Times Book Review“Elegiac. . . . An exploration of how one should live in a flawed world, the choices we make and the values they reflect.” —San Francisco Chronicle“Mesmerizing, even heart-breaking. . . . Guterson explores the fissures in our divided souls. . . . Vivid.” —The Seattle Times“Excellent.... As humane as it is compelling.”—The Philadelphia Inquirer“Guterson’s descriptions of light and shadow, of fir canopies and forest floors, are as strong as they were in Snow Falling on Cedars, dotting the pages like beautifully muted piano chords.... At its core The Other is a book about the roads we choose, and the subsequent regrets and what-ifs and I-wonders.” —The Oregonian“Guterson creates a visceral world.... The Other is ripe with color and sound and texture.”—Chicago Sun-TimesEW 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 WeeklyThe 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)
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

“Gorgeous, haunting. . . . A deeply considered tragedy of social alienation and hubris.”
The Washington Post Book World

The introduction, questions, and suggestions for further reading that follow are intended to enhance your group's discussion of David Guterson's The Other. The story of a young man who chooses to live in isolation in Washington State's Cascade Mountains—told by his closest friend—it is a moving exploration of the clash between personal ideals and moral responsibility, the demands of friendship and the price of honoring them.

About the Guide

Neil Countryman, the son of a carpenter, is a high school English teacher, a happily married father of two, and an aspiring writer. As a teenager, he hiked the uncharted wilderness of the North Cascades with his friend, John William Barry, an affluent descendant of Seattle's founding families. Fueled by bravado and adolescent idealism, John William held forth on everything—from mountaineering lore to society's failings to metaphysics. After a couple of semesters at Reed College, John William engineers his own disappearance, retreating to a primitive camp high in the mountains. For seven years, Neil is his only contact with the outside world. When John William's long strange odyssey comes to a tragic end, Neil must deal with the meaning of his friend's life and its profound impact on his own.

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.

Discussion Guides

1. Neil describes John William at sixteen as “the rich kid who hates and loves himself equally. The contrarian who hears his conscience calling in the same way schizophrenics hear voices, so that, for him, there's no not listening” [p. 10]. Have you encountered people like John William in your own life? In literature? What makes him a believable character, rather than a stereotype?

2. Does Neil also represent a familiar type or character? What makes him interesting or appealing to you? To John William? What distinctive characteristics (strengths and flaws alike) inform the way he tells John William's story? Consider the qualities that Neil admires in John William in contrast to how he describes himself.

3. Neil and John William are brought together by their love of the outdoors and in particular for hiking in unmapped areas. Does John William spur Neil to take risks he otherwise would avoid? What aspects of their feelings about risk come to light when they get lost in the forest [pp. 29-34]? In what ways do their attitudes about the adventure echo their feelings about their lives in general?

4. To what extent do John William's activities at Reed [pp. 70-83] as well as his decision to drop out of college reflect the cultural and social milieu of the 1970s? Does Cindy's rejection of him mark a significant turning point for John William, or does it simply reinforce his perceptions of the world?

5. How does his upbringing affect John William? Would he have turned out differently if Ginnie had remained with the family? Does her decision to leave make her the villain of the story? Are there aspects of her conduct that evoke your empathy or sympathy? Is Rand oblivious or indifferent to his son's problems or is he incapable of dealing with them? How do Neil's portraits of them change and deepen as the novel unfolds? Does he become more accepting of the Barrys' flaws, and if so, why?

6. Throughout The Other, there are references to gnosticism, a philosophical and religious movement that emerged during the early Christian era. A central theme of its teaching is that the world is imperfect, but each of us has a divine spark within that can ultimately free us from the evils of the material world. Does John William's obsession with gnosticism enhance your understanding of his motivations and behavior? What other references to literature and philosophy in the novel illuminate the themes Guterson is exploring? Discuss, for example, the references to Emily Dickinson and Thoreau [p. 86], to Robert Frost [passim], and to Rudyard Kipling's “The Miracle of Purun Bhagat” [p. 167].

7. What effect does Neil achieve by alternating accounts of his own experiences with his reports on John William? How do their encounters as they grow older illustrate Neil's contention that “in a friendship, you don't so much change terms as observe terms changing” [p.112]?

8. How do you feel about Neil's complicity in enabling John William to escape from the real world? What moral imperatives underlie his actions? Is he guilty of betraying the fundamental ethical obligations he has as a member of society?

9. In his course, Nature in Literature, Neil tells his students, “poetry and nature are occasions for introspection, but not necessarily for happiness” [p. 28]. Is John William seduced by a naïve, romantic view of the relationship between man and nature? Is he prepared for life in the wilderness? What does he learn about his strengths and limitations as he struggles with nature's unpredictable, difficult, and often cruel challenges?

10. Does his flight from civilization bring John William the spiritual purity he is searching for? Could he have found another way to express his antipathy to the hypocrisy he sees in the ordinary world? Do you think that he knowingly set out on a path to self-destruction?

11. Is the relationship between Neil and John William a healthy one? What emotional satisfaction does it provide for each of them? Does Neil's role in John William's life influence his behavior as husband, father, and teacher?

12. Was Neil ultimately right to keep John William's secret for so long? How do you think John William's mother and father would answer?

13. Neil writes, “In the newspaper reports on the hermit of the Hoh, an abiding derangement is the heart of the matter. That's wrong” [p. 112]. Does Neil's account of what happens to John William justify this point of view? Would a more objective observer draw the same conclusion from the evidence Neil provides?

14. How does The Other compare to other accounts, either fiction or nonfiction, about people who have exiled themselves from society? If you have read Into the Wild (or have seen the movie), what similarities do you see between John William and Chris McCandless? Discuss the diverse reasons, either rational or not, a person might have for abandoning a comfortable life for one filled with risk and danger. Discuss how Guterson's decision to tell such a story in the form of a novel differs from Krakauer's nonfiction approach.

15. This is a book chiefly about a friendship between two boys, yet in many ways the women they love shape the men they become. What roles do the women in the novel—Neil's mother, who dies when he is in high school; John William's mother, who abandons him when he is still a child; Neil's loving and supportive wife; and John William's college girlfriend—play in the lives of the two main characters?

16. How does inheriting John William's money change things for Neil—if it does at all? Do you think that it is inheriting the money that allows Neil to finally devote himself to writing, or is it the chance to get John William's story off his chest? Would John William want a book written about him? Is Neil exploiting his friend in any way?

Suggested Readings

Charles Baxter, The Soul Thief; David James Duncan, The River Why; Jim Harrison, True North; John Knowles, A Separate Peace; Jon Krakauer, Into the Wild; Norman Maclean, A River Runs Through It; Alan Sillitoe, The Loneliness of the Long-Distance Runner; Gary Snyder, The Gary Snyder Reader; Abraham Verghese, The Tennis Partner; Sean Wilsey, Oh the Glory of It All.

  • The Other by David Guterson
  • June 02, 2009
  • Fiction - Literary
  • Vintage
  • $15.00
  • 9780307274816

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