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Suttree Paperback – May 5, 1992
Remaining on the margins of the outcast community there—a brilliantly imagined collection of eccentrics, criminals, and squatters—he rises above the physical and human squalor with detachment, humor, and dignity.
Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.
- Print length480 pages
- LanguageEnglish
- Publication dateMay 5, 1992
- Dimensions5.13 x 1.04 x 7.97 inches
- ISBN-100679736328
- ISBN-13978-0679736325
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“Suttree contains a humour that is Faulknerian in its gentle wryness, and a freakish imaginative flair reminiscent of Flannery O'Connor.” —The Times Literary Supplement (London)
“All of McCarthy’s books present the reviewer with the same welcome difficulty. They are so good that one can hardly say how good they really are. . . . Suttree may be his magnum opus. Its protagonist, Cornelius Suttree, has forsaken his prominent family to live in a dilapidated houseboat among the inhabitants of the demimonde along the banks of the Tennessee River. His associates are mostly criminals of one sort or another, and Suttree is, to say the least, estranged from what might be called normal society. But he is so involved with life (and it with him) that when in the end he takes his leave, the reader’s heart goes with him. Suttree is probably the funniest and most unbearably sad of McCarthy’s books . . . which seem to me unsurpassed in American literature.” —Stanley Booth
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Product details
- Publisher : Vintage (May 5, 1992)
- Language : English
- Paperback : 480 pages
- ISBN-10 : 0679736328
- ISBN-13 : 978-0679736325
- Item Weight : 11.6 ounces
- Dimensions : 5.13 x 1.04 x 7.97 inches
- Best Sellers Rank: #55,175 in Books (See Top 100 in Books)
- #484 in Contemporary Literature & Fiction
- #1,191 in Westerns (Books)
- #3,798 in Literary Fiction (Books)
- Customer Reviews:
About the author

Cormac McCarthy was born in Rhode Island. He later went to Chicago, where he worked as an auto mechanic while writing his first novel, The Orchard Keeper. The Orchard Keeper was published by Random House in 1965; McCarthy's editor there was Albert Erskine, William Faulkner's long-time editor. Before publication, McCarthy received a travelling fellowship from the American Academy of Arts and Letters, which he used to travel to Ireland. In 1966 he also received the Rockefeller Foundation Grant, with which he continued to tour Europe, settling on the island of Ibiza. Here, McCarthy completed revisions of his next novel, Outer Dark. In 1967, McCarthy returned to the United States, moving to Tennessee. Outer Dark was published in 1968, and McCarthy received the Guggenheim Fellowship for Creative Writing in 1969. His next novel, Child of God, was published in 1973. From 1974 to 1975, McCarthy worked on the screenplay for a PBS film called The Gardener's Son, which premiered in 1977. A revised version of the screenplay was later published by Ecco Press. In the late 1970s, McCarthy moved to Texas, and in 1979 published his fourth novel, Suttree, a book that had occupied his writing life on and off for twenty years. He received a MacArthur Fellowship in 1981, and published his fifth novel, Blood Meridian, in 1985. All the Pretty Horses, the first volume of The Border Trilogy, was published in 1992. It won both the National Book Award and the National Book Critics Circle Award and was later turned into a feature film. The Stonemason, a play that McCarthy had written in the mid-1970s and subsequently revised, was published by Ecco Press in 1994. Soon thereafter, the second volume of The Border Trilogy, The Crossing, was published with the third volume, Cities of the Plain, following in 1998. McCarthy's next novel, No Country for Old Men, was published in 2005. This was followed in 2006 by a novel in dramatic form, The Sunset Limited, originally performed by Steppenwolf Theatre Company of Chicago. McCarthy's most recent novel, The Road, was published in 2006 and won the Pulitzer Prize.
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‘Suttree’ is the last of the early period of McCarthy’s novels with a setting in the American South, namely Knoxville, and there are presumably autobiographical parallels with McCarthy’s own experiences living in that region in his earlier years. The premise is simple: Cornelius Suttree, a young man who came from an affluent family, deserted his wife and young son and the material comforts of his previous life to live among the lower classes in the Knoxville area—the small-time criminals, prostitutes, the homeless, the hand-to-mouth denizens of the lower depths of society. The novel occurs during the first half of the 1950’s. Suttree, often referred to as Sut, Bud or Buddy, or Youngblood, lives in a houseboat docked below one of the bridges of the Tennessee River. He goes out in his skiff to catch fish that he will sell to local markets, hopefully for enough to stay stocked in beans and coffee.
The explanation for why Suttree would leave his former life to live life on the margins of survival is never made clear. He does express grief upon learning of his young son’s death and after the former in-laws drive him away from the funeral he returns later to start burying his son’s grave with a heartbreaking frenzy. That is the most demonstrative he ever gets throughout the novel. We get the impression that he is educated, more intelligent, more articulate than most of the bottom-dwellers with whom he associates.
Suttree spends much of his time drinking and being in the wrong place at the wrong time, a lifestyle risk of living among thieves and homeless people. This explains why he ends up serving several months in a workhouse for being an accessory to a failed robbery attempt—he was driving the getaway car.
While in the workhouse he meets the most comic character in the novel, Gene Harrogate, a skinny simpleton who seems predestined to follow his most idiotic impulses to predictably disastrous ends. When asked what brought him to the workhouse, Gene explains that he was having sex with watermelons in a farmer’s patch and got caught after he had already gratified himself with the entire crop.
‘They tried to get me for beast, beast…Bestiality? Yeah, but my lawyer told em a watermelon wasnt no beast. He was a smart son of a bitch. Oh boy, said Suttree.’
Suttree feels some sense of responsibility for Harrogate, as if he has inherited some idiot son as a surrogate for the son he lost. This leads him later to dig under wreckage beneath a bank when Gene tried to rob a bank with dynamite and exploded a water main by mistake, burying him in sewage. Suttree finds him and resuscitates him.
Suttree is for various reasons unable to sustain any kind of romantic relationship. He has a clandestine affair with the teenage daughter of a man with whom he has been collecting mussels and harvesting pearls to sell, unsuccessfully. The affair ends, not with any discovery by the father but when the girl is buried in a landslide. Later, he has a relationship with a prostitute who brings him money reportedly from generous payments from satisfied customers but then, as everything seems to be going well, she has a complete mental breakdown.
The theme of death and burial flows through the novel, culminating in Suttree’s own accounting of what he did with his life, what meaning he found in his life.
‘Tilting back in his chair he framed questions for the quaking ovoid of lamplight on the ceiling to pose to him: Supposing there be any soul to listen and you died tonight? They’d listen to my death. No final word? Last words are only words. You can tell me, paradigm of your own sinister genesis construed by a flame in a glass bell. I’d say I was not unhappy. You have nothing. It may be the last shall be first. Do you believe that? No. What do you believe? I believe that the last and the first suffer equally. Pari passu. Equally? It is not alone in the dark of death that all souls are one soul. Of what would you repent? Nothing. Nothing? One thing. I spoke with bitterness about my life and I said that I would take my own part against the slander of oblivion and against the monstrous facelessness of it and that I would stand a stone in the very void where all would read my name. Of that vanity I recant all.’
‘Suttree’ is also perhaps McCarthy’s most profound novel. Like all of McCarthy’s other novels that I’ve read it deals with death as it occurs individually as well as conceptually, but the death in ‘Suttree’ is not so specifically the result of violence committed from the masculine urge to hunt and kill as became his specialty in his next few novels.
‘Suttree’ is McCarthy’s longest novel and it also has the most saturated prose. There are passages of great beauty that evoke Shakespeare. It is difficult to write a coherent review of a novel that can not be easily summarized or assessed. I think that Suttree, like Thoreau, has sought to live life deliberately, to know that he has perceived the sensory substance of living, which always carries death within it, by living among others who scrape by for daily existence and are one step away from oblivion.
This novel is dense enough to bear rereading. Perhaps within a couple of years I will re-read it. I’m certain that I’ll discover aspects I missed this time around and when I do, I’ll hopefully be able to write a more enlightened review.
Top reviews from other countries

A reminder of Hemingway, Dylan Thomas, Steinbeck and Thomas Hardy. Great writing that will never come again. A must read, a keeper and a Classic. Get one today. Makes a good gift but only for the serious reader.



