The final case

David Guterson

Book - 2022

"A provocative new novel from the best-selling author of Snow Falling on Cedars--a moving father-son story that is also a taut courtroom drama and a bold examination of privilege, power, and how to live a meaningful life. In a small rural town outside Seattle, Joanna, an Ethiopian girl adopted by a white fundamentalist Christian family, is found dead of hypothermia in her own backyard--setting in motion a gripping journey into the complexities of human emotion. How does it feel to be a child taken into a family that doesn't share her background, her religion, or the color of her skin? What does it mean to be a mother on trial for murder? And why would a lawyer choose to defend such a woman? Royal is a criminal attorney in his eigh...ties, and this is his final case. His son, our narrator, drives Royal every day from his office to the town where the tragedy took place, and observes the trial as it unfolds. The consequences will reach beyond what he could have anticipated. Bracing, astute, and intensely imagined, The Final Case is a tightrope walk of a novel, a deeply affecting work of fiction that dares to confront life's most irreconcilable moral quandaries. It will make an indelible impression on every reader"--

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Subjects
Genres
Legal fiction (Literature)
Published
New York : Alfred A. Knopf 2022.
Language
English
Main Author
David Guterson (author)
Edition
First Edition
Physical Description
245 pages ; 22 cm
ISBN
9780525521327
Contents unavailable.
Review by Booklist Review

What defines a meaningful life? The narrator of this searching and languid novel looks to his father as exhibit A. While the narrator's own existence "clearly smacked now of bourgeois retirement," he finds inspiration in his 84-year-old Dad, a criminal attorney who is readying for what he suspects will be his final case. In 2011, an Ethiopian girl adopted by a family in Skagit County, Washington, died of hypothermia. Guterson (Problems with People, 2014) fictionalizes this real-life tragedy to fuel the initial momentum for this deeply reflective novel. The details of what emerges as a horrific child abuse case are unsettling and made even more so by the sudden shift of gears to the narrator's life once Dad's involvement in the trial ends. The abrupt change of perspective feels disorienting but provides effective ballast for the rest of the story. The looping writing--one of the sentences is 243 words long--demands attention and a slower pace, deepening the novel's impact. Guterson includes a quote from Okakura Kakuzō's classic, The Book of Tea: "Let us dream of evanescence, and linger in the beautiful foolishness of things." A touching reminder to find beauty in the mundane despite the relentless crush of the horrific.

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

The death from hypothermia of an adopted Ethiopian girl, Abeba "Abigail" Addisu, while in the care of her Christian fundamentalist parents, Betsy and Delvin Harvey, drives this outstanding literary thriller from PEN/Faulkner Award for Fiction winner Guterson (Snow Falling on Cedars). Betsy and Delvin, who live in rural Skagit Country north of Seattle, are arrested on homicide charges, and Betsy is put on trial for murder. On a break from fiction writing, the unnamed narrator accompanies his elderly criminal attorney father, Royal, who has agreed to defend Betsy, for the pretrial interview of Betsy. When Royal dies before the final verdict, his son picks up the loose ends of his father's life while continuing to follow the case, which exposes the cruel conditions in which Abeba suffered. The narration is the novel's main draw. Equal parts philosophical, humane, and self-deprecating, it powerfully speaks to the ineffable contradiction of living a meaningful life. Guterson sensitively explores religion, white privilege, and justice while examining with realism and empathy the bond between parents and their children. With its simple message of hope, this novel will linger with readers long after the final page. Agent: Georges Borchardt, Georges Borchardt, Inc. (Jan.)

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

In this latest from the author who launched his career with the popular Snow Falling on Cedars, an Ethiopian girl adopted by a white fundamentalist Christian family is found dead of hypothermia in her Seattle backyard and her adoptive mother put on trial for murder. She is defended by an octogenarian criminal attorney whose son narrates the story as he chauffeurs his father around town. How did it feel for Abeba to find herself in an environment so far from--and so different from--her homeland? Why did the lawyer take what will be his final case? And what does the town think of these events?

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Review by Kirkus Book Review

A bestselling author explores art, justice, and grief as he questions what makes a story true. "Awhile back, I stopped writing fiction." This is one of the first things the narrator has to say about himself. After a description of the (implausibly brief) existential crisis that followed the end of his fiction-writing career, he addresses the reader directly: "If that leaves you wondering about this book--wondering if I'm kidding, or playing a game, or if I've wandered into the margins of metafiction or the approximate terrain of autofiction--everything here is real." This may look like reassurance, but it's actually a warning. Using a young girl's murder as an inciting incident, Guterson tests the reader's understanding of story, truth, and how the two intersect. The narrator's father, Royal, is an attorney approaching the end of his own career. When Royal agrees to defend a White woman accused of killing her Black adopted daughter, the narrator becomes intrigued by the case. Again and again, his father cautions him that the real justice system doesn't function the way it does on TV, but then a judge delivers a speech that provides exactly the kind of moral satisfaction we want from crime shows. This speech serves as a bookend to an earlier passage in which the accused woman's mother rants about all the ways in which White Christians are oppressed in contemporary America. The shape of this text--a single, uninterrupted paragraph spread over multiple pages--strains credulity, but its content is instantly recognizable to anyone who pays even scant attention to right-wing media. Guterson seems to be asking why righteously elegant oration seems realistic when it's coming from the bench but an equally impassioned soliloquy delivered in the living room of a double-wide in rural Washington feels like a literary contrivance. The author subverts expectations over and over again. After the narrative begins to take the shape of a courtroom drama, the story shifts back to the personal concerns of the narrator--including a lot of thought and conversation about the craft of writing--for so long that it seems possible that the dead child has been forgotten. She has not. It's just that real life seldom has an obvious beginning, middle, and end. The book closes with the narrator turning toward his wife in the dark while she whispers, "We can love people….What else is there?" This might feel like an easy out for a story in which hateful people and dumb mortality wield their power. Or it can feel like a gentle acknowledgement of our collective precarity. Needfully discomfiting. Copyright (c) Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Pretrial A while back, I stopped writing fiction. I've been doing it for a long time, I'm not interested anymore, there are other things in life, I'd be repeating myself--­I became aware that thoughts like these, uninvited, unexpected, persistent, and gnawing, were proliferating in my head, and outweighed any urge to write fiction, at first by a little, so that I stayed in the habit, but then by a lot, so that I quit. It was a strange development for me. My situation was unfamiliar. Perplexed at first, I puttered and tinkered. I read books long unread. I took walks that might aptly be described as putting one foot in front of the other while trying not to forget that it was time to change a furnace filter. I swam laps with my wife every Tuesday and Thursday morning in a public pool. About once a week, we went to see a movie; about twice a week, we ate lunch in a café. My life clearly smacked now of bourgeois retirement. Predominantly, I cleaned, organized, repaired, and refurbished, and so the weeks went past without any fiction writing. Some days, I was distressed to learn that it was noon already, but this perturbation, from the start, was mild, a pang at worst, or an ephemeral hollowness. More persistent was a vague intimation that, at the heart of every moment of living, something was wrong. That faded, until I was waking up each morning without giving fiction writing any thought or missing it. Fiction writing was behind me in full. There were other possibilities now. If that leaves you wondering about this book--­wondering if I'm kidding, or playing a game, or if I've wandered into the margins of metafiction or the approximate terrain of autofiction--­everything here is real. One October Sunday afternoon, after I'd headed four rows of raspberry canes that still had leaves but were shedding them as I culled, my father called me. Two things, he said. First, a tree had fallen in his yard. Second, he'd had a minor car accident. The downed tree, while a nuisance, could wait indefinitely. The accident, though, was a problem, because his car was undrivable and he had to be at work in the morning. "No," he said, "I didn't get hurt. No one got hurt. That's on the bright side. On the downside, I'm at fault. I know that. I can't blame someone else. I plowed into a parked car. I turned a corner and plowed into a car, and I sat there thinking, 'I know what this means. It's the beginning of the end for me.' "Your mother," my father went on, "had a series of parking-­lot scrapes, and then a serious fender bender, and the result is, for about two years now, she hasn't gotten behind the wheel of a car, which you know, of course, and anyway we only had the one car, and now it's unusable. We're okay, though, in broad terms." My parents were okay--­in broad terms. They still lived in the house where they'd raised me and my sister--­a brick saltbox with brick windowsills and a wrought-­iron railing on one side of the fissured concrete risers outside their front door. It was full of failed windows with permanently obscured panes, and hemmed in by bushes irregularly trimmed. It had a half-­basement crammed with objects put aside for a future dispersal that never came, and a roof that leaked where it met a chimney penetration. The rooms were low-­ceilinged, the interior doorways trimmed by scant casing. Light fell across everything in a desultory fashion--­across the ceramic figurines on the side tables, across the heaped-­up matchbox collection, and across the sideboard with its display of blue-­and-­white Delft crockery. My parents, in their eighties, had gravitated toward their combination kitchen/dining room as the stage on which their lives would play out. They'd installed a half-­sofa and a small television there, cramping the room with this modest arrangement. It was a bit of a feat to slip around the table where they took their meals and into the nest they'd made for themselves beneath a window--­a window against which, at the moment, as my father explained, the whip ends of branches were curled in the aftermath of tree fall. I went to their house. It wasn't hard for me to do so. I lived about fifteen minutes away by car, which you could say sounds depressing--­staying in the approximate neighborhood of your youth for your whole life. I wasn't down about it, though. In fact, I liked it. Plus, I would have moved if there'd been a reason for it, like a job, for example, or because my wife wanted to. My sister had also stayed put. She'd stayed in Seattle, and had said about that, more than once, "Why move?" The toppled tree in my parents' backyard was a spruce that had succumbed to a recent windstorm. About a third of it had cracked off and now lay with its branches either spearing the earth or rising like bristles. Bark, needles, and cones littered the patio, and an acrid scent of resin hung in the air. I went to work with a chain saw until a reasonable neatness had been reintroduced, and then my father and I ducked into the cedar-­shingled shed at the rear corner of my parents' lot--­ramshackle and dilapidated, with a duff-­filled, detached ­gutter--­to look at his car, which was emphatically crumpled on the driver's side at the front, where a headlight dangled sadly. "What happened," he said, "is that by the time I got home--­and this accident occurred just two blocks away--­all of the water had come out of the radiator. So now it has to sit here until I figure something out." Excerpted from The Final Case: A Novel by David Guterson All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.