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We the Animals Hardcover – August 30, 2011
| Justin Torres (Author) Find all the books, read about the author, and more. See search results for this author |
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Enhance your purchase
- Print length126 pages
- LanguageEnglish
- PublisherHoughton Mifflin Harcourt
- Publication dateAugust 30, 2011
- Reading age14 years and up
- Dimensions5 x 0.66 x 8 inches
- ISBN-109780547576725
- ISBN-13978-0547576725
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Review
—Michael Cunningham "Some books quicken your pulse. Some slow it. Some burn you inside and send you tearing off to find the author to see who made this thing that can so burn you and quicken you and slow you all at the same time. A miracle in concentrated pages, you are going to read it again and again, and know exactly what I mean."
—Dorothy Allison "In language brilliant, poised and pure, We the Animals tells about family love as it is felt when it is frustrated or betrayed or made to stand in the place of too many other needed things, about how precious it becomes in these extremes, about the terrible sense of loss when it fails under duress, and the joy and dread of realizing that there really is no end to it."
—Marilynne Robinson "We the Animals snatches the reader by the scruff of the heart, tight as teeth, and shakes back and forth—between the human and the animal, the housed and the feral, love and violence, mercy and wrath—and leaves him in the wilderness, ravished by its beauty. It is an indelible and essential work of art."
—Paul Harding, Pulitzer Prize–winning author of Tinkers "We the Animals marks the debut of an astonishing new voice in American Literature. In an intense coming-of-age story that brings to mind the early work of Jeffrey Eugenides and Sandra Cisneros, Torres's concentrated prose goes down hot like strong liquor. His beautifully flawed characters worked their way into my heart on the very first page and have been there ever since."
—Tayari Jones, author of Silver Sparrow "We the Animals is a gorgeous, deeply humane book. Every page sings, and every scene startles. I think we'll all be reading Justin Torres for years to come."
—Daniel Alarcon, author of Lost City Radio and War by Candlelight "A strobe light of a story...I wanted more of Torres's haunting word-torn world..."
—New York Times Book Review "Justin Torres' debut novel is a welterweight champ of a book. It's short but it's also taut, elegant, lean — and it delivers a knockout."
—NPR's Weekend Edition "A slender but affecting debut novel by Justin Torres...[a] sensitive, carefully wrought autobiographical first novel...The scenes have the jumbled feel of homemade movies spliced together a little haphazardly, echoing the way memory works: moments of fear or excitement sting with bright clarity years later, while the long passages in between dissolve into nothingness. From the patchwork emerges a narrative of emotional maturing and sexual awakening that is in many ways familiar...but is freshened by the ethnicity of the characters and their background, and the blunt economy of Mr. Torres’s writing, lit up by sudden flashes of pained insight."
—New York Times "The communal howl of three young brothers sustains this sprint of a novel, which clocks in at a hundred and twenty-five pages. The boys, who imagine themselves the Musketeers, the Stooges, and the Holy Trinity all at once, are the wisecracking, lamenting chorus who bear witness to their parents’ wild-ride marriage. Ma got pregnant at fourteen—she tells her oldest son she could feel him growing inside her, ‘heart ticking like a bomb'—and now sleeps for days at a time and weeps whenever she tells her children she loves them; Paps, occasionally AWOL, surfaces to deliver meticulous, leisurely spankings. The collage of vignettes is elevated by Torres's twitchy prose, in which the pummel of hard consonants and slant rhymes becomes a kind of incantation: ‘They hunched and they skulked. They jittered. They scratched...They'll flunk. They'll roll one car after another into a ditch.'"
—New Yorker "The best book you'll read this fall...We the Animals, a slim novel—just 144 pages—about three brothers, half white, half Puerto Rican, scrambling their way through a dysfunctional childhood, is the kind of book that makes a career....Torres’s sentences are gymnastic, leaping and twirling, but never fancy for the sake of fancy, always justified by the ferocity and heartbreak and hunger and slap-happy euphoria of these three boys. It’s a coming-of-age novel set in upstate New York that rumbles with lyric dynamite. It’s a knock to the head that will leave your mouth agape. Torres is a savage new talent."
—Esquire "First-time novelist Justin Torres unleashes We the Animals (Houghton Mifflin Harcourt), a gorgeous, howling coming-of-age novel that will devour your heart."
—Vanity Fair "A novel so honest, poetic, and tough that it makes you reexamine what it means to love and to hurt. Written in the voice of the youngest of three boys, this partly autobiographical tale evokes the cacophony of a messy childhood—flying trash-bag kites, ransacking vegetable gardens, and smashing tomatoes until pulp runs down the kitchen walls. But despite the din the brothers create, the novel belongs to their mother, who alternates between gruff and matter-of-fact—'loving big boys is different from loving little boys—you’ve got to meet tough with tough.' In stark prose, Torres shows us how one family grapples with a dangerous and chaotic love for each other, as well as what it means to become a man."
—O, the Oprah Magazine "The imagistic power of Justin Torres’ debut, We the Animals (Houghton Mifflin Harcourt), exists in inverse proportion to its slim 128 pages. Just try shaking off this novel about three upstate New York brothers whose knockabout childhoods with their Puerto Rican "Paps" and white "Ma" are the narrative equivalent of feral kitties being swung overhead in a burlap bag."
—Elle magazine "A kind of heart-stopping surge of emotion and language in this musical tornado of a novel."
—Pam Houston in More magazine "Justin Torres’ debut novel, We the Animals, does a lot more than just get read. In a mere 124 pages, it shouts, beatboxes and flirts; it lulls only to shock awake; it haunts and creeps and surprises. If Torres’ book were an object, it would be a BB gun spray-painted jungle green. If it were a sound, it would be something like Kanye West circa "808s and Heartbreaks" reinterpreting Maurice Ravel’s "Bolero." Torres, a 31-year-old graduate from the Iowa Writers’ Workshop and a current Wallace Stegner Fellow, writes in a voice that combines urgency, brutality and huggable cuteness that creates a pungent new voice both endearingly frightening and difficult to categorize."
—Forbes.com "[We the Animals] packs an outsized wallop; it's the skinny kid who surprises you with his intense, frenzied strength and sheer nerve. You pick up the book expecting it to occupy a couple hours of your time and find that its images and tactile prose linger with you days after...what stays with me are the terrible beauty and life force in Torres' primal tale."
—Newsday "That such a young author writes so well in his debut novel seems miraculous. Few books can match the trifecta pulled off in We the Animals: simplicity married to artistry and candor. For this reason, along with others noted here, this book could not be more highly recommended."
—New York Journal of Books "Short sentences. Short chapters. Short book. But wow! What a powerful piece of fiction. Justin Torres’ We the Animals is a tough little novel about three brothers growing up as the neglected, beloved sons of a Puerto Rican father and a white mother who works the graveyard shift in a brewery and sometimes doesn't know what day it is. It's daring and funny and a little scary, and it nails the competitive bond among siblings better than any book in recent memory."
—The Oregonian "Telling the story of three mixedrace brothers growing up in New York state, Justin Torres’ debut novel, We the Animals, is a quick, raw, punchy read....memorable and vivid"
—Dallas Morning News "Here's a first novel that reads like one, not because it's amateurish or unsure of itself—it's neither—but because it's urgent. Urgency in fiction is easily faked—kill off the protagonist's parents in the first sentence, or do away with dependent clauses, or use the second person—but Justin Torres’ We the Animals is actually urgent. Urgent not to tell us anything or to make a particular point, but, like a living thing, to be what it mysteriously needs to be, to fulfill the promises it makes to itself."
—San Francisco Chronicle "Filled with rich detail, tableau-like scenes, and true-to-life little boy adventures, We the Animals is a must-read novel. Torres’ evocative language grips the reader, each scene bringing the boys to life, reminding us of our own childhoods and our struggles to grow into strong men and women."
—San Francisco Book Review "It takes only a single paragraph of Justin Torres’ We the Animals to announce a powerful new voice in literary fiction....This short, sharp shock of a debut novel, based on the author's experiences growing up poor in upstate New York, is like a viscous liquor that both burns and braces."
—Arizona Republic "It’s rare to come across a young writer with a voice whose uniqueness, power and resonance are evident from the very first page, or even the very first paragraph. It does happen every once in a while, though. And it’s happened again, just now, with the publication of We the Animals, a slender, tightly wound debut novel by a remarkable young talent named Justin Torres."
—Washington Post "Justin Torres’s slim volume We the Animals comprises a series of seminal moments from a young boy’s life, which are revealed in brilliant, searing flashes; its relatively few pages contain the arc of an entire childhood...As a debut, We the Animals proves that Torres is not only a novelist of deep empathy, but one with the ability to compress this feeling into prose until only the truest and most essential kernels remain."
—Time Out New York "A slim book can hold volumes. We the Animals, the first novel from Justin Torres, is such a book. Not an ounce of fat on its slight frame, but the story is sinewy. Stong....We the Animals crafts beauty out of despair. From lives so fragmented they threaten to break off into oblivion at any moment, Torres builds a story that is burnished, complete. That takes talent, diligence and more than a little grace."
—Houston Chronicle "We the Animals is a book so meant to break your heart that it should lose its power just on the grounds of being obvious. That it pierces—with an arrow dipped in ache—signals that Justin Torres is a writer to embrace from the start. This is his first novel."
—Newark Star Ledger "Torres has spilled onto the scene, big beating heart in hand. The book is short because it must've been absolutely exhausting to write. But that doesn't matter because you'll read it three times. But most of all, We the Animals will enrapture the literary world, as it should, because of its lyricism. It feels like reading James Agee by lightning strike."
—Arkansas Times "We the Animals conveys the raw honesty of a child trying to figure everything out: hunger, love, loneliness, injustice, sex, the weather, desire, poverty, vulnerability, brutality, abandonment, loyalty, brokenness, yearning, fear, and, maybe, hope. Each chapter is a tiny, carefully crafted vignette, a story both elegant and raw, vibrant and incomplete. Rarely has a writer developed the child's-eye view with such intimate vulnerability and emphatic restraint."
—Bookslut.com "Justin Torres’ first novel, We the Animals (Houghton Mifflin Harcourt, 144 pages), carries all the balm and hazard of strong waves at high tide. Told through the eyes of the youngest of three brothers, the novel evokes the experience of youth and the struggles of a poor family from Brooklyn living in upstate New York. Through his enveloping and fast-paced prose, Torres bestows his story with a rare generosity and honesty, portraying the family’s jagged love—with all its cruelty, beauty, tenderness, and loyalty—and chronicling the events leading to the family’s calamitous fragmentation."
—ZYZZYVA: The Last Word: West Coast Writers and Artists "Three brothers and a dueling husband and wife are bound by poverty and love in this debut novel from Stegner Fellow Torres...The short tales that make up this novel are intriguing and beautifully written"
—Publishers Weekly "An exquisitely crafted debut novel—subtle, shimmering and emotionally devastating...the narrative voice is a marvel of control—one that reflects the perceptions and limitations of a 7-year-old in language that suggests someone older is channeling his younger perspective. In short chapters that stand alone yet ultimately achieve momentum, the narrator comes to terms with his brothers, his family and his sexuality, separating the "I" from the "we" and suffering the consequences. Ultimately, the novel has a redemptive resonance—for the narrator, for the rest of the fictional family and for the reader as well. Upon finishing, readers might be tempted to start again, not wanting to let it go."
—STARRED Kirkus "Fiercely gorgeous...In a style that reaches the level of poetry, We the Animals is a hymn for what is lost; for what we leave behind and what never leaves us. Belying brevity, Torres has crafted a beast of a book, stretching its paws and flexing its tail, a creature that is simultaneously elegant and ferocious."
—Publishers Lunch "Justin Torres's first-rate prose will leave you gut-socked and breathless, with a lump in your throat...the writing is exquisite, making the painful trip so worthwhile...A touching, frightening story of three boys who grow up amid neglect, poverty, violence and occasional moments of pure, radiant love."
—Shelf Awareness Pro
From the Inside Flap
Three brothers tear their way through childhoodsmashing tomatoes all over each other, building kites from trash, hiding out when their parents do battle, tiptoeing around the house as their mother sleeps off her graveyard shift. Paps and Ma are from Brooklynhes Puerto Rican, shes whiteand their love is a serious, dangerous thing that makes and unmakes a family many times.
Life in this home is fierce and absorbing, full of chaos and heartbreak and the euphoria of belonging completely to one another. From the intense family unity that surrounds a child to the resilience and permanence of brotherhood to the profound alienation a young man endures as he begins to see himself in the world, this novel reinvents the coming-of-age story in a way that is sucker-punch powerful. It leaves us reminded that our madness is both caused by, and alleviated by, our families, and that we might not reconcile who we are with who our loved ones see, or who we want to be for them.
Written in magical language with unforgettable images, We the Animals is a stunning exploration of the viscerally charged landscape of growing up, how deeply we are formed by our earliest bonds, and how we are ultimately propelled at escape velocity toward our futures.
From the Back Cover
We the Animals is a dark jewel of a book. Its heartbreaking. Its beautiful. It resembles no other book Ive read. We should all be grateful for Justin Torres, a brilliant, ferocious new voice.Michael Cunningham
We the Animals snatches the reader by the scruff of the heart, tight as teeth, and shakes back and forthbetween the human and the animal, the housed and the feral, love and violence, mercy and wrathand leaves him in the wilderness, ravished by its beauty.Paul Harding
In language brilliant, poised, and pure, We the Animals tells about family love as it is felt when it is frustrated or betrayed or made to stand in the place of too many other needed things, about how precious it becomes, and about the joy and dread of realizing that there really is no end to it.Marilynne Robinson
Torress concentrated prose goes down hot like strong liquor.Tayari Jones
About the Author
JUSTIN TORRES was raised in upstate New York. His work has appeared in Granta, Tin House, and Glimmer Train. A graduate of the Iowa Writers’ Workshop, he was the recipient of a Rolón Fellowship in Literature from United States Artists and is a Wallace Stegner Fellow at Stanford. Among many other things, he has worked as a farmhand, a dog walker, a creative writing teacher, and a bookseller.
Excerpt. © Reprinted by permission. All rights reserved.
WE WANTED MORE
We wanted more. We knocked the butt ends of our forks against the table, tapped our spoons against our empty bowls; we were hungry. We wanted more volume, more riots. We turned up the knob on the TV until our ears ached with the shouts of angry men. We wanted more music on the radio; we wanted beats; we wanted rock. We wanted muscles on our skinny arms. We had bird bones, hollow and light, and we wanted more density, more weight. We were six snatching hands, six stomping feet; we were brothers, boys, three little kings locked in a feud for more.
When it was cold, we fought over blankets until the cloth tore down the middle. When it was really cold, when our breath came out in frosty clouds, Manny crawled into bed with Joel and me.
“Body heat,” he said.
“Body heat,” we agreed.
We wanted more flesh, more blood, more warmth.
When we fought, we fought with boots and garage tools, snapping pliers—we grabbed at whatever was nearest and we hurled it through the air; we wanted more broken dishes, more shattered glass. We wanted more crashes.
And when our Paps came home, we got spankings. Our little round butt cheeks were tore up: red, raw, leather-whipped. We knew there was something on the other side of pain, on the other side of the sting. Prickly heat radiated upward from our thighs and backsides, fire consumed our brains, but we knew that there was something more, someplace our Paps was taking us with all this. We knew, because he was meticulous, because he was precise, because he took his time. He was awakening us; he was leading us somewhere beyond burning and ripping, and you couldn’t get there in a hurry.
And when our father was gone, we wanted to be fathers. We hunted animals. We drudged through the muck of the crick, chasing down bullfrogs and water snakes. We plucked the baby robins from their nest. We liked to feel the beat of tiny hearts, the struggle of tiny wings. We brought their tiny animal faces close to ours.
“Who’s your daddy?” we said, then we laughed and tossed them into a shoebox.
Always more, always hungrily scratching for more. But there were times, quiet moments, when our mother was sleeping, when she hadn’t slept in two days, and any noise, any stair creak, any shut door, any stifled laugh, any voice at all, might wake her, those still, crystal mornings, when we wanted to protect her, this confused goose of a woman, this stumbler, this gusher, with her backaches and headaches and her tired, tired ways, this uprooted Brooklyn creature, this tough talker, always with tears when she told us she loved us, her mixed-up love, her needy love, her warmth, those mornings when sunlight found the cracks in our blinds and laid itself down in crisp strips on our carpet, those quiet mornings when we’d fix ourselves oatmeal and sprawl onto our stomachs with crayons and paper, with glass marbles that we were careful not to rattle, when our mother was sleeping, when the air did not smell like sweat or breath or mold, when the air was still and light, those mornings when silence was our secret game and our gift and our sole accomplishment—we wanted less: less weight, less work, less noise, less father, less muscles and skin and hair. We wanted nothing, just this, just this.
NEVER-NEVER TIME
We all three sat at the kitchen table in our raincoats, and Joel smashed tomatoes with a small rubber mallet. We had seen it on TV: a man with an untamed mustache and a mallet slaughtering vegetables, and people in clear plastic ponchos soaking up the mess, having the time of their lives. We aimed to smile like that. We felt the pop and smack of tomato guts exploding; the guts dripped down the walls and landed on our cheeks and foreheads and congealed in our hair. When we ran out of tomatoes, we went into the bathroom and pulled out tubes of our mother’s lotions from under the sink. We took off our raincoats and positioned ourselves so that when the mallet slammed down and forced out the white cream, it would get everywhere, the creases of our shut-tight eyes and the folds of our ears.
Our mother came into the kitchen, pulling her robe shut and rubbing her eyes, saying, “Man oh man, what time is it?” We told her it was eight-fifteen, and she said fuck, still keeping her eyes closed, just rubbing them harder, and then she said fuck again, louder, and picked up the teakettle and slammed it down on the stove and screamed, “Why aren’t you in school?”
It was eight-fifteen at night, and besides, it was a Sunday, but no one told Ma that. She worked graveyard shifts at the brewery up the hill from our house, and sometimes she got confused. She would wake randomly, mixed up, mistaking one day for another, one hour for the next, order us to brush our teeth and get into PJs and lie in bed in the middle of the day; or when we came into the kitchen in the morning, half asleep, she’d be pulling a meat loaf out of the oven, saying, “What is wrong with you boys? I been calling and calling for dinner.”
We had learned not to correct her or try to pull her out of the confusion; it only made things worse. Once, before we’d known better, Joel refused to go to the neighbors and ask for a stick of butter. It was nearly midnight and she was baking a cake for Manny.
“Ma, you’re crazy,” Joel said. “Everyone’s sleeping, and it’s not even his birthday.”
She studied the clock for a good while, shook her head quickly back and forth, and then focused on Joel; she bored deep in his eyes as if she was looking past his eyeballs, into the lower part of his brain. Her mascara was all smudged and her hair was stiff and thick, curling black around her face and matted down in the back. She looked like a raccoon caught digging in the trash: surprised, dangerous.
“I hate my life,” she said.
That made Joel cry, and Manny punched him hard on the back of the head.
“Nice one, asswipe,” he hissed. “It was going to be my fucking birthday.”
After that, we went along with whatever she came up with; we lived in dreamtime. Some nights Ma piled us into the car and drove out to the grocery store, the laundromat, the bank. We stood behind her, giggling, when she pulled at the locked doors, or when she shook the heavy security grating and cursed.
She gasped now, finally noticing the tomato and lotion streaking down our faces. She opened her eyes wide and then squinted. She called us to her side and gently ran a finger across each of our cheeks, cutting through the grease and sludge. She gasped again.
“That’s what you looked like when you slid out of me,” she whispered. “Just like that.”
We all groaned, but she kept on talking about it, about how slimy we were coming out, about how Manny was born with a full head of hair and it shocked her. The first thing she did with each one of us was to count our fingers and toes. “I wanted to make sure they hadn’t left any in there,” she said and sent us into a fit of pretend barfing noises.
“Do it to me.”
“What?” we asked.
“Make me born.”
“We’re out of tomatoes,” Manny said.
“Use ketchup.”
We gave her my raincoat because it was the cleanest, and we warned her no matter what not to open her eyes until we said it was OK. She got down on her knees and rested her chin on the table. Joel raised the mallet above his head, and Manny squared the neck of the ketchup bottle between her eyes.
“On the count of three,” we said, and we each took a number—my number was last. We all took the deepest, longest breath we could, sucking the air through our teeth. Everyone had his face all clenched up, his hands squeezed into fists. We sucked in a little more air, and our chests swelled. The room felt like a balloon must, when you’re blowing and blowing and blowing, right before it pops.
“Three!”
And the mallet swung through the air. Our mother yelped and slid to the floor and stayed there, her eyes wide open and ketchup everywhere, looking like she had been shot in the back of the head.
“It’s a mom!” we screamed. “Congratulations!” We ran to the cupboards and pulled out the biggest pots and heaviest ladles and clanged them as loud as we could, dancing around our mother’s body, shouting, “Happy Birthday! . . . Happy New Year! . . . It’s zero o’clock! . . . It’s never-never time! . . . It’s the time of your life!”
Product details
- ASIN : 0547576722
- Publisher : Houghton Mifflin Harcourt; 1st edition (August 30, 2011)
- Language : English
- Hardcover : 126 pages
- ISBN-10 : 9780547576725
- ISBN-13 : 978-0547576725
- Reading age : 14 years and up
- Item Weight : 5.6 ounces
- Dimensions : 5 x 0.66 x 8 inches
- Best Sellers Rank: #297,257 in Books (See Top 100 in Books)
- #397 in Hispanic American Literature & Fiction
- #935 in Cultural Heritage Fiction
- #13,315 in Literary Fiction (Books)
- Customer Reviews:
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About the author

Justin Torres is the nationally bestselling author of We the Animals, which was adapted into an award-winning film. His short fiction has been published in the New Yorker, Harper’s, and Granta, among other publications. Torres has also contributed nonfiction pieces to the Guardian and the Advocate.
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I'd describe the writing as intense. Roxane Gay called it "fierce." Others said raw, feral, harsh, powerful, electric, urgent. All true. The writing keeps the reader off balance constantly, and sucks us into the passion of the three brothers and their parents. The book brims with passion from the first page. The boys are hungry for experience, hungry for throwing themselves at the world, and, it turns out, hungry for food as well.
The narrator is the youngest of three brothers, 7 years old, the only one fo the three who does well in school and has a better future in the wings. The dad is Puerto Rican, mom white American, from Brooklyn but living in upstate NY. The dad passionately loves, but is also violent and unpredictable. The mom loves the kids fiercely but not always appropriately; she's often wildly depressed and out of touch with reality. It's easy to see these three boys are likely to find serious trouble as they become adolescents. The last two chapters skip ahead to adolescence and adulthood.
It was really the writing that hooked me from the first page. The literary style is unusual. It swept me along in this portrayal of a family living on the edge, with themes including childhood, coming of age, race, sexuality, poverty. The author gives us very little outside the immediate workings of the boys and the family -- little about the time, place, settings, names, all sparsely detailed.
Some reviewers have complained that the book is trite or stereotyped. I would say this is a poignant study of poverty, race and childhood; nothing is overwrought or simplified about the difficulties portrayed. Would that there were more books honestly grappling with these issues, as this book does.
Wonderful piece of writing.
I love the opening line of Anna Karenina: “Happy families are all alike; every unhappy family is unhappy in its own way.” Unhappy families all have their own special brands of dirty laundry and dark secrets.
But it’s rare that you get to see what makes an unhappy family so unhappy (unless, of course, you have the misfortune of coming from one). People often keep their unhappiness behind closed doors.
We the Animals opens those doors. Wide.
A little family background:
-- A fourteen-year-old white girl gets pregnant by her sixteen-year-old Puerto Rican boyfriend.
-- They drive to Texas to get married (they are from New York, and she’s too young to get married there).
-- Over the course of three years, they pop out three kids.
-- They move to upstate New York in search of a better life.
-- She works the graveyard shift at a brewery; when he works, he works odd jobs. He’s better at drinking than working.
-- The three kids, all boys, are wild and thick as thieves.
At the start of the book, the unnamed narrator (who speaks in first person plural, referring to himself and his two brothers) is seven. His older brothers, Joel and Manny, are nine and ten, respectively. Paps calls the boys “mutts” (“You ain’t white and you ain’t Puerto Rican.”).
Ma and Paps are reckless, abusive, desperate, young, and immature. They are still growing up, despite having the responsibility of three mouths to feed and minds to shape. Their parenting choices are questionable at times and atrocious at others–they smother the three boys with love and need in one moment and treat them like absolute s*** the next.
The book (at a scant 128 pages, it’s more of a novella, really) is told in vignettes that span about a decade. There’s the time Ma comes home on the narrator’s birthday after having been beaten until she’s purple. There’s the time Paps shows the boys how to dance the mambo like a “purebred” in the kitchen. There’s the time Ma and the boys act like Gallagher in the kitchen, smashing tomatoes and tubes of lotion and bottles of ketchup until they’re covered in slime and goo and look like newborn babies. There’s the time Paps tries to teach Ma and the narrator how to swim by taking them to the middle of a lake and leaving them there to fend for themselves.
Each chapter is like the telling of a distinct, vivid memory (some separated by days, others separated by years). They are snapshots that range from the joyful to the excruciating.
As soon as I finished reading the book, I went online to find out if it is autobiographical. It seemed like Torres was drawing from personal and painful experience. It is frighteningly and heartbreakingly real. And, not surprisingly, there is a lot of truth in his novel. The author has said in interviews that the facts are autobiographical, but the incidents are fictionalized.
We the Animals takes you on an emotional roller-coaster ride. That’s a played-out description, I realize, but here it is apt. There were times when I laughed out loud and times when I felt sick to my stomach. There’s a lot of love in this book, but there’s also betrayal and abuse and devastation.
Reading this book feels vaguely voyeuristic. You’re reading someone’s family secrets, and it feels a little wrong . . . but you want to do it anyway.
Who should read it: fans of short fiction (this is more like a collection of related short stories than a traditional novel); people who like emotionally-wrought memoirs.
Top reviews from other countries
Justin Torres's debut novel has already been highly praised by authors such as Michael Cunningham and Marilynne Robinson. With good reason; you will be gripped by it from page one, with no chance to escape.
The first "WTA" trait to strike is its language: taut, sharp, surgically precise, not a word or a punctuation mark wasted or out of place.
Then comes the srructure: Mr Torres's take on Bildungsroman develops in short, poignant tableaux that never fail to climax linguistically and emotionally. In lesser hands this book would have been five-hundred pages long, but the author makes a ferocious use of ellipsis here. And what is missing simply pierces even more when pitched against what you actually read on the page. If you need literary references think "The Hours" by Michael Cunningham mixed with Hubert Selby Jr's "Last Exit To Brooklyn". That is, violence and beauty strolling hand in hand.
And no, we are not going to say a word about the plot and the characters. They will be with you, vivid and heartbreaking, by the end of chapter one, leading the way into a world where each of your senses will be pummelled by the gasp of life.
Mr Torres has some bitter lessons to impart on the illusion of family life, love and sexuality. They all ring desperately, unavoidably true.
We can therefore only applaud this new master in American fiction. And hope for more of this beautiful brutal thing.













