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We the Animals, by Justin Torres
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In this groundbreaking debut, Justin Torres plunges us into the chaotic heart of one family, the intense bonds of three brothers, and the mythic effects of this fierce love on the people we must become.
"We the Animals is a dark jewel of a book. It’s heartbreaking. It’s beautiful. It resembles no other book I’ve read.”—Michael Cunningham
"A miracle in concentrated pages, you are going to read it again and again." —Dorothy Allison
"Rumbles with lyric dynamite . . . Torres is a savage new talent." —Benjamin Percy, Esquire
"A fiery ode to boyhood . . . A welterweight champ of a book." —NPR, Weekend Edition
"A tremendously gifted writer whose highly personal voice should excite us in much the same way that Raymond Carver’s or Jeffrey Eugenides’s voice did when we first heard it." —Washington Post
"A novel so honest, poetic, and tough that it makes you reexamine what it means to love and to hurt." —O, The Oprah Magazine
"The communal howl of three young brothers sustains this sprint of a novel . . . A kind of incantation." —The New Yorker
- Sales Rank: #17336 in Books
- Published on: 2012-09-11
- Released on: 2012-09-11
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 5.50" w x .50" l, .39 pounds
- Binding: Paperback
- 128 pages
- Fiction
Amazon.com Review
Amazon Best Books of the Month, September 2011: We The Animals, Justin Torres's sparse debut novel, is brimming with delicate stories of family, of growing up, of facing reality, and of delaying it. Narrated by the youngest son of a Puerto Rican father and white mother from Brooklyn raising their three young sons in upstate New York, the novel is comprised of vignettes detailing moments spent in the eye of the ferocious bubble of home. Torres paints a large picture through diminutive strokes, evoking envy for the couple’s passion and fear for just how easily that passion turns to rage. The brothers wrestle, fight, cry, and laugh as their family is torn and repaired over and over again. Torres’s prose is fierce, grabbing hold of the reader and allowing him inside the wrenching, whirlwind of a life lived intensely. --Alexandra Foster
Review
"We the Animals is a dark jewel of a book. It’s heartbreaking. It’s beautiful. It resembles no other book I’ve read. We should all be grateful for Justin Torres, a brilliant, ferocious new voice."
—Michael Cunningham
—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 "[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 "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 "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 "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."
—Kirkus, STARRED REVIEW
From the Inside Flap
""We the Animals" is a gorgeous, deeply humane book. Every page sings, and every scene startles."--Daniel Alarcon
Three brothers tear their way through childhood--smashing 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 Brooklyn--he's Puerto Rican, she's white--and 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.
Most helpful customer reviews
136 of 148 people found the following review helpful.
Was on Its Way to the Year's Best
By Rick Mitchell
This book was well on its way to one of my year's best. It is a stirring and touching memoir novella of a family not so uncommon. The parents entered parenthood as teenagers. She gave birth at ages 14, 15 and 17. The mother works the graveyard shift at a brewery and the father works when he can. This is a saga of kids (ages 7, 9 and 10) growing up in poverty with parents who were probably never ready to be parents. The story has all the manic swings of emotion that comes with such a family. Mr. Torres captures the love, the fear and the violence in all their permutations in a unique and terrific style. The accounts of the family can be breath-taking, for good and for bad.
But then suddenly in the last 15 pages the gears shift to the adulthood of the youngest child. The shift is incongruous and does not fit. It seemed self-indulgent on the part of the author after he had kept an interesting distance as an adult writing about a seven year old. The ending was terribly disappointing to me. I went from loving this book and rushing to the next page while wishing it to go on for much longer to tremendous disappointment.
The first 90% of the book is so great that it overcomes the ending, so I still recommend it. I am quite sure that there will be some who will love the ending. For me, though, it just did not fit and detracted.
58 of 63 people found the following review helpful.
Language Blast for the Reader
By Joanne M. Friedman
It's rare that I read a book without occasionally skipping a page or two of long-winded description. It's even more rare that I am able to finish a book--read it cover to cover--in a noisy waiting area while small children scream about ice cream and machinery whines in the background. We the Animals is the book that broke my mold.
This is not a light little romp, despite its brevity, so be prepared for a raging ride through a mess of a childhood. The three "animals" and their dysfunctional, impaired parents are not your average kids. But, then, Justin Torres is not your average writer. There is something in his words that digs into the reader's spirit, twists around and spits out a direct link to the mind of a child in bizarre circumstances. I felt the childish mind at the other end of the words, and it was an amazing experience. Autobiographies and memoirs try their best to accomplish, often in much longer strings of words, this feat, and most fail. There is something magical in the construction of this little book, and one can only hope that Torres has more like it growing on his hard drive. Painful, beautiful, touching, and funny, We the Animals deserves reading and Torres deserves fandom.
77 of 92 people found the following review helpful.
The Boys of Mango Street
By KC
Reading Justin Torres's WE THE ANIMALS, I couldn't help but think of Sandra Cisneros's THE HOUSE ON MANGO STREET. In fact, my hunch is that this is Torres's version of that book moved to Brooklyn and written from the point of view of a boy. From vignette to vignette, you piece together the picture, until finally, at 125 slim pages, your editors consider it enough to be coined a "novel." No, Torres does not surpass his mentor, but he has his poetic moments. Sometimes these moments fail and become "workshop" moments, wherein you sense the lineage (in this case, the Iowa Writers' Workshop, among others) of the author and how it makes the words smell of the writing workshop copying machine, but other times the writing actually comes alive.
In the beginning we are introduced to a dysfunctional family (de rigueur these days) consisting of a wife-beating Puerto Rican dad ("Paps"), an unpredictable white mother ("Ma") and the Three Musketeers (the boys -- at the book's beginning, ages 7 to 10). The ages are not insignificant. As the tone and voice of this book is often wise and clever, one begins to wonder how the young narrators manage it. I realize that authors often claim it is the "voice of wisdom looking back," but the dialogue portions were a bit advanced, too, and -- in the "narrative dream" -- what was said then was said then.
Early on, Torres utilizes the first-person plural "we" point of view, accenting just how close these brothers are and how they behave (well, mostly misbehave) almost as a single entity. They witness their parents engaging in activities and violence that most of us do not, then show the effects in their own behaviors, all as you'd expect. This is Torres's slant and what gives the book its charm.
Later in the book, however, the author shifts to a first-person point of view, written from the voice of the youngest son. This boy, in the last few vignettes, undergoes a dramatic change that really turns the whole novel upside down. Now instead of a garden variety, coming-of-age-in-a-violent family, we have another type of coming of age tale which, I guess, would be a spoiler to reveal. Suffice it to say that Torres waited too late into the book to spring it on us and should have written maybe 50 additional pages allowing for a more logical transition. As it is, it seems out of the blue, dumped on the reader, and the behavior of the family seems even more bizarre than its admittedly low standards would lead us to expect. Meaning? I didn't buy it. It was too much and too abrupt, jolting me out of the narrative dream as efficiently as a pothole.
That said, you can emphasize the book's efforts along the way and enjoy it for those moments where the narration sings. Torres is adept at anaphora (repeated beginnings of sentences) and cascading participial phrases, making his well-punctuated sentences dance in creative ways at times (much like Paps who, in one vignette, tries to teach the boys how to mambo like a real Puerto Rican). All in all, a mixed bag and, in the end, a missed opportunity. Still, one could do worse than to have Sandra Cisneros as a role model. In this case, the student shows that work remains to be done -- in future books.
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