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Attempts to Be Whole

Scott Abbott. Immortal for Quite Some Time. Salt Lake City: University of Utah Press, 2016. 257 pp. Paperback: $24.95.
Reviewed by Scott Russell Morris, Dialogue, Summer 2017 (50:2).
In Immortal for Quite Some Time, Scott Abbott meditates on his brother’s death. That Abbott comes from a devoted Mormon family and that his brother was gay and died of AIDS is the tagline that seems to sell the book—and this review, too, apparently, as I am writing that first despite my best intentions—but really, this book is not about his brother John or about the homophobic culture of the LDS Church and many of its adherents, despite both of those being common motifs. It is about Scott Abbott. And, as all good personal non fiction is, it isn’t really about Scott Abbott either, but rather about what it means to grow up in a culture that is so overwhelmingly shaping that it “informs even your sentence structure” (89) and then to find that you no longer want to have a place in it. In the last few weeks as I’ve contemplated what I might say about Abbott’s book and as I’ve discussed it with others (one of whom saw it on my couch and asked, based on the title, if it was a vampire novel), I’ve described it in a few ways: It is about a BYU professor who was in the thick of the academic freedom concerns at BYU in the ’90s. Or, it is about a brother going through his dead brother’s things and thinking about what that might mean about the two of them, both nonconformists. For those more interested in writing and less about the story, I’ve told them about the most interesting feature of the book: It is written mostly as a series of journal entries, but there are a lot of other voices; for example, a female critic consistently questions the stories and rhetoric in Abbott’s entries, which he responds to in a separate editorial voice. There are also his brother’s words, at first taken from found texts like notebooks, letters, and book annotations, but then, toward the end, John actually speaks from the dead, directly to the narrator, though mostly to underscore the fact that he no longer has a voice, deflecting questions by responding, “You can probably answer that yourself,” and “I don’t really get to answer that, do I?” (207, 202).