Descent
“Read this astonishing novel . . . The magic of his prose equals the horror of Johnston’s story.” —The Washington Post

​Don't miss DISTANT SONS, the new literary thriller from Tim Johnston, available now.

The Rocky Mountains have cast their spell over the Courtlands, who are taking a family vacation before their daughter leaves for college. But when Caitlin and her younger brother, Sean, go out for an early morning run and only Sean returns, the mountains become as terrifying as they are majestic.

Written with a precision that captures every emotion, every moment of fear, as each member of the family searches for answers, Descent races like an avalanche toward its heart-pounding conclusion. 

“A compelling thriller that is both creepy and literary . . . Descent is not just a mystery. It is an emotional story of evil, fear, acceptance and irony.”—The Denver Post

“What makes the novel unforgettable is its sense of character, its deliberate, unadorned prose and Johnston’s unflinching exploration of human endurance, physical and psychological.” —Miami Herald

“A super-charged, addictive read.” —The Missourian               

“An original and psychologically deep thriller.” —Outside magazine

“Outstanding . . . The days when you had to choose between a great story and a great piece of writing? Gone.” —Esquire

“[A] dazzling debut . . . Exquisitely crafted.”  —The Dallas Morning News 

“Incredibly powerful, richly atmospheric.” —Minneapolis Star Tribune 

“[An] engulfing thriller-cum-western.” —The New York Times Book Review 

“Brilliant . . . As gripping as any Everest expedition.” —Peter Heller, author of The Dog Stars
1117904882
Descent
“Read this astonishing novel . . . The magic of his prose equals the horror of Johnston’s story.” —The Washington Post

​Don't miss DISTANT SONS, the new literary thriller from Tim Johnston, available now.

The Rocky Mountains have cast their spell over the Courtlands, who are taking a family vacation before their daughter leaves for college. But when Caitlin and her younger brother, Sean, go out for an early morning run and only Sean returns, the mountains become as terrifying as they are majestic.

Written with a precision that captures every emotion, every moment of fear, as each member of the family searches for answers, Descent races like an avalanche toward its heart-pounding conclusion. 

“A compelling thriller that is both creepy and literary . . . Descent is not just a mystery. It is an emotional story of evil, fear, acceptance and irony.”—The Denver Post

“What makes the novel unforgettable is its sense of character, its deliberate, unadorned prose and Johnston’s unflinching exploration of human endurance, physical and psychological.” —Miami Herald

“A super-charged, addictive read.” —The Missourian               

“An original and psychologically deep thriller.” —Outside magazine

“Outstanding . . . The days when you had to choose between a great story and a great piece of writing? Gone.” —Esquire

“[A] dazzling debut . . . Exquisitely crafted.”  —The Dallas Morning News 

“Incredibly powerful, richly atmospheric.” —Minneapolis Star Tribune 

“[An] engulfing thriller-cum-western.” —The New York Times Book Review 

“Brilliant . . . As gripping as any Everest expedition.” —Peter Heller, author of The Dog Stars
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Descent

Descent

by Tim Johnston
Descent

Descent

by Tim Johnston

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Overview

“Read this astonishing novel . . . The magic of his prose equals the horror of Johnston’s story.” —The Washington Post

​Don't miss DISTANT SONS, the new literary thriller from Tim Johnston, available now.

The Rocky Mountains have cast their spell over the Courtlands, who are taking a family vacation before their daughter leaves for college. But when Caitlin and her younger brother, Sean, go out for an early morning run and only Sean returns, the mountains become as terrifying as they are majestic.

Written with a precision that captures every emotion, every moment of fear, as each member of the family searches for answers, Descent races like an avalanche toward its heart-pounding conclusion. 

“A compelling thriller that is both creepy and literary . . . Descent is not just a mystery. It is an emotional story of evil, fear, acceptance and irony.”—The Denver Post

“What makes the novel unforgettable is its sense of character, its deliberate, unadorned prose and Johnston’s unflinching exploration of human endurance, physical and psychological.” —Miami Herald

“A super-charged, addictive read.” —The Missourian               

“An original and psychologically deep thriller.” —Outside magazine

“Outstanding . . . The days when you had to choose between a great story and a great piece of writing? Gone.” —Esquire

“[A] dazzling debut . . . Exquisitely crafted.”  —The Dallas Morning News 

“Incredibly powerful, richly atmospheric.” —Minneapolis Star Tribune 

“[An] engulfing thriller-cum-western.” —The New York Times Book Review 

“Brilliant . . . As gripping as any Everest expedition.” —Peter Heller, author of The Dog Stars

Product Details

ISBN-13: 9781616204303
Publisher: Little, Brown and Company
Publication date: 01/06/2015
Sold by: Hachette Digital, Inc.
Format: eBook
Pages: 384
File size: 3 MB

About the Author

Tim Johnston is the author of the novels DescentThe Current, the story collection Irish Girl, and the young adult novel Never So Green. He holds degrees from the University of Iowa and the University of Massachusetts, Amherst. He is the recipient of the 2015 Iowa Author Award and currently lives in Iowa City, Iowa.

Read an Excerpt

THE PHONE IN his hand was ringing. For how long? He read the screen with illogical dread.

“It’s Sean,” he said, and his wife said nothing.

THEY'D LEFT THE aspens and stepped into a high, intense sunlight, their shadows thrown back on the blacktop. The morning had burned away. The air was sere and smelled of weeping sap and of the brown, desiccated needles. They’d unfolded the map and tried to get their bearings. In a moment, and for the first time that day, they heard an engine, and then a gaining thump-beat of music, and above them at the curve there banked into view a truck, or a jeep, or something in between, some mountain breed they didn’t know, and it was coming and Caitlin said, “Get over here,” and Sean crabwalked himself and the bike into the scrub growth and wildflowers while the strange vehicle, all sunlight and bass, veered wide of them. In the window was a face, a man’s jaw, yellow lenses fixing on them for a long moment before the jeep-thing passed on and, reaching the crest of the road, dropped away, body and engine and music and all.

They’d set off again then, and when they came around the bend there was another road, unpaved, intersecting the blacktop at an oblique angle like an X, and without hesitating and without consulting him, Caitlin simply took it. And although the road was unmarked, and although it appeared as though it would take them higher up rather than down, he said nothing. Later, he would think about that. He would remember the shrine of the woods. The graves. He would see the Virgin’s face and her mutilated blessing and he would remember thinking they should pray before her just the same, like the right reverend said, just in case. Forty days was forty days. But Caitlin had already been on the path, moving toward the road. She was wearing a white sleeveless top, white shorts with the word "Badgers" bannered in cherry red across her bottom, pink and white Adidas, and for a moment, in that place, she had looked not like herself but like some blanched and passing spirit. A cold wanderer around whom the air chilled and the birds shuddered and the leaves of the aspens yellowed and fell.
 
HE RAISED THE phone and said, “Hello, Sean,” and a man’s voice said, “Is this Mr. Courtland?” and Grant’s head jerked as if struck.

“Yes. Who is this?”

At these words, the change in his body, Angela came around to see his face. He met her eyes and looked away, out the window. The man on the phone identified himself in some detail, but all Grant heard was the word sheriff.

“What’s happened?” he asked. “Where’s Sean?” There was a pain in his forearm and he looked to see the white claw fastened there. He pried at it gently.

“He’s here at the medical center in Granby, Mr. Courtland,” said the sheriff. “He’s a tad banged up, but the doctor says he’ll be fine. I found his wallet and this phone in his--”

“What do you mean a tad--” He glanced at Angela and stopped himself. “What do you mean by that?”

“I mean it looks like he got himself in some kind of accident up there on the mountain, Mr. Courtland. I ain’t had a chance to talk to him yet, they doped him up pretty good for the . . . Well, you can talk to the doctor in a second here. But first--”

“But he’s all right,” Grant said.

“Oh, his leg’s banged up pretty good. But he was wearing that helmet. He’ll be all right. He had some good luck up there.”

“What do you mean?”

“I mean he could of laid there a lot longer, but it happened some folks come by on their bikes.”

Grant’s heart was hammering in his skull. He couldn’t think--his son lying there, up there, on the mountain, hurt--

“Mr. Courtland,” said the sheriff. “Where are you all at?”

There was something in the man’s tone. Grant shook his head. “What do you mean?”

“Well, sir. We found your boy way up there on the mountain, on a rental bike. So I’m just wondering, sir, where you’re at.”

“Caitlin,” Angela said suddenly, and Grant’s heart leapt and he said, “Yes. Let me speak to my daughter. Let me speak to Caitlin.”

“Your daughter . . . ?” said the other man, then was silent. In the silence was the sound of his breathing. The sound of him making an adjustment to his sheriff ’s belt. The sound of a woman’s voice paging unintelligibly down the empty hospital corridor.

When he spoke again he sounded like some other man altogether.

“Mr. Courtland,” he said, and Grant stepped toward the window as though he would walk through it. He’d taken the representations of the mountains on the resort maps, with their colorful tracery of runs and trails and lifts, as the mountains themselves--less mountains than playgrounds fashioned into the shapes of mountains by men and money. Now he saw the things themselves, so green and massive, humped one upon the other like a heaving sea. Angela stopped him physically, her thumbs in his biceps. She raised on her toes that she might hear every word. “Mr. Courtland,” said the sheriff. “Your son came in alone.”

Interviews

Can You Write a Novel while You Build a House?

I caught the writing bug during my undergraduate days at the University of Iowa in Iowa City, Iowa, and although I'd been born and raised in that storied little city (Flannery, Stegner, Vonnegut!), or because of that, when I got the chance to pursue my MFA in faraway New England (New England — it sounded like another country!), I grabbed it. Three years later, with a few published stories, my first literary agent, and my degree in hand, I left UMass, Amherst, and began hitting things with a hammer.

I was twenty-four then, and I've spent nearly as many of the following years hitting things with a hammer, and so I've had plenty of time to shape — and re-shape, and sand, and varnish, and start all over again from scratch — the answer to the question so many people think to ask, which in its essence goes, What is the relationship between writing and carpentry?

Whenever I hear this question I get the feeling the asker already has a pretty good idea about the answer, but wants to hear me say it — wants to hear me assemble in the space between us any number of nifty metaphors, as if the question were intended to provoke a live demonstration of my mastery of both crafts at once.

In both cases, I might say, one begins with nothing — raw materials — and works at his creation day by day, brick by brick.

The tools in the toolbox must be sharp, most of all an eye for detail.

Both kinds of craftsmen must possess great patience and a love of the process itself.

They must return again and again to the lessons of the masters.

They must be expert in the strength of materials and fluent in the language of grain.

They must long to make out of nothing something beautiful and lasting . . .

I might give that kind of answer, but I don't. Instead I begin to talk about the writer/carpenter brain: What happens when its work is split between one form of creating and the other — a productive, a beneficial split, yes or no?

Going strictly on personal and in no way scientifically proven experience, I say that even though writing fiction and building things would seem to be rooted in a common lobe of brain — the creative, making-stuff lobe — they actually are not, because the two processes are not reciprocal.

Example: I have had many fictional stories announce, repair, or finish themselves in my brain while I was engaged physically in carpentry — planing, sanding, shaping some piece of wood — but I have never once thought of the solution to a carpentry challenge while sitting at my desk writing fiction.

Which is not to say that carpentry is not mentally demanding: there is a reason for that old carpenter's saw, Measure twice, cut once. Carpentry often calls for extensive, brain-hurting calculations, an error in which can mean more than wasted time; it can cost big money for you, the boss, the client. (Not to mention: power tools, and the cost of operating them with less than your full attention.)

As a writer you may spend longer than you wanted to on a paragraph, or you may end up throwing out hundreds of pages, but no time spent writing is wasted time.

But in carpentry there is also a kind of zone, or Zen-ness that does not have its counterpart in writing. The carpenter, as he or she becomes more masterful, also becomes less conscious, more at ease with hands and tools, more automatic, and it's this not-quite-mindless state of being, of functioning, that creates the mental space for the scene, or story, or novel to take up shop in the carpenter's brain.

The inverse is not true. Although there are days when the writing seems to flow as if from some wide-open valve, it is never, ever mindless. Writing uses the whole brain, the juicy upfront parts and the deep-down crannies too, and often the writer doesn't even know what's he or she's created until much, much later.

By now the asker of the writing/carpentry question has drifted away, probably more than mentally, wondering why I didn't just talk about how writing a book is like building a house.

Lately — since the publication of Descent, actually - - I've been answering this question with a story, a very short one, about a carpenter who one day packed up all his tools and drove his truck high into the Rocky Mountains to do the finish work on a house his father had built up there. The carpenter wasn't going to try to write up there; he was just going to be a carpenter. And so he worked, week after week, all alone, doing good work, doing masterful work, and six months later when he packed up his tools again and came down from the mountains, the house was beautiful, artful, finished . . . and he had the first 200 pages of a new novel in his hands.

Next question?

—Tom Johnson

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