(Published in The Philippine Star, Sunday, November 27, 2011. Weekly Winner of the My Favorite Book contest sponsored by National Bookstore)
THIS one is a brief review of the novel
Ordinary People by Judith Guest. It was a
fairly quick read, but I still feel its lasting impression. And here’s
why.
I
didn’t know anything about the book, its author, or its theme until I picked it
up and browsed it. Upon reading the backside that its movie adaptation,
directed by the legendary Hollywood actor Robert Redford, was highly praised
and won the Oscars for Best Picture in 1980, I didn’t hesitate to buy it.
Why
not? Choosing between bestsellers and award-winning books (Pulitzer Prize,
National Book Awards, Nobel Laureates’ magnum opuses, etc.), I prefer the
latter category. And books made into highly acclaimed movies have always been a
good alternative. After reading Erich Maria Remarque’s
All Quiet on the Western
Front and Michael Ondaatje’s
The English Patient, both winners of Best Picture
in the Academy Awards in 1930 and 1996, respectively, I’ve been on a frantic
hunt for novels whose movie adaptations won the Oscars’ most coveted award.
Ordinary
People is one of those novels (actually an old book from the ‘70s, when no cell
phones, computers, or social networking got in the way of a good story) I
didn’t realize was out there to be discovered or explored. Its theme is
universal, which is the loss and the different ways people deal with it.
It
is written from the perspective of a reserved teenager, Conrad Jarret, trying
to tackle by himself the loss of his older brother. Out of guilt for not being
able to do anything to help his brother in an accident while boating together,
and feeling disconnected from his parents, he attempts to commit suicide, which
lands him in the hospital for eight months. Later on, his father helps him find
a psychiatrist.
The
family the book depicts is appropriately “ordinary,” that is, they’re familiar
to us. They could be your neighbors or relatives, or could be your own. The
characters seem real: you hear them speak and you see their pain, and feel for
them.
I
can relate to the book’s compelling theme. I really felt for the surviving son
and his father Cal, as he tries to reach out to him. I felt connected to both
of them. I lost my wife last August, or barely a month before I read this book.
With her untimely demise due to breast cancer, all my dreams of getting old,
complete and satisfied, with her and our children sank into a black hole and I
have yet to cope with the ordeal of being a shocked survivor. I had this
uneasiness, however, in seeing my own incomprehensible emotions laid out before
me page after page in this novel.
Reading
through the struggles of the surviving family members, it brings to mind Hamlet’s
affecting question: “
To be or not to be?” You suddenly feel envious of the
dead, because they are in peace while the survivors have to live long and deal
with the traumatizing event, and suffer with more and more issues, like the
idea of suicide, isolation, brokenness, deep longing for connection, and a
cesspool of unwanted memories.
I’ve
read some novels with the same subject—bereavement—and I can only remember
Bag of Bones by Stephen King (a writer suffering a severe writer’s block after
the death of his wife);
The Lovely Bones by Alice Sebold (a father who is
consumed with guilt at having failed to save a daughter and a mother who drifts
away and leaves her husband after the tragic death); and
The Secret Garden by
Frances Hodgson Burnett (a rich hunchback shutting off from his mind a sickly
son and a beautiful garden after an accident killed his wife), but none had put
more than the usual amount of emphasis on depression from a clinical
standpoint.
Ordinary
People is a very psychologically astute book that tells us matter-of-factly
that depression is, in the words of the novel’s psychiatrist, Dr. Berger, “not
sobbing and crying and giving vent, it is plain and simple reduction of
feeling.” It’s your own choice why you feel numb or void of feelings, because
it is your mind’s way of protecting itself. But it is the kind of isolation and
being lonely and miserable that is unforgiving and cannot be forgiven when
there are people who are more than willing to listen and patiently try to lift
you up. I really like that shrink.
So
for anyone who has ever struggled with similar loss or depression, this is an
eye-opening book. It shows how grief may drive people away from the shelter of
the family unit, and yet the same grief may also draw some closer together,
like the son and his father in the story. Even “ordinary people” can overcome
difficult and unthinkable circumstances all the time, and some handle these
poignant and razor-sharp emotions differently, most of them with success. And
some made good with the help of a counselor or a psychiatrist.
There
is goodness about all things. The book tells us then that there is no
insurmountable pain in bereavement. Life may be a lot of problems, yet it is
full of hope. The good Dr. Berger has also remarked that after bereavement,
“there is just Phase Two. Recovery. A moving forward.” That could be a guiding
principle, a perfect mantra, in any depressing time or some shattered
relationship.
Except
for the deterioration of the marriage between Cal and his wife, the novel ends
on a positive note. Conrad Jarret slowly starts to respond to Dr. Berger, and
comes to terms with his feelings. The teenager becomes his own man and gets
over wallowing in his intoxicating survivor’s guilt and identity crisis, thus
resolving the internal conflict of the story.
People
just need to learn to work with and around each other in order to live their
lives and be happy. I would not have learned these things if I didn’t pick up
this outstanding book. I am now well reminded of the reasons that life is still
worth living in spite of some horrible things.
After
all, grief is not a failure.