We the Animals, By Justin Torres

 

Peter Carty
Monday 12 March 2012 21:00 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

What it is to be a boy! Adventures each and every day, with endless rough and tumble in the cause of rebellion. Our mixed-race narrator is growing up in New York state with an abusive father, unpredictable mother and two aggressive elder brothers. His parents started their family much too young – Ma was 14, Paps 16 – and they are not coping well. Yet, while Paps's violence is despicable, his musculature and vitality are mesmerising for his youngest son.

If fraternal relations are frequently savage, the brothers are often as selflessly united as three miniature Musketeers. Many escapades end in beatings from Paps. But behind the pain, the boys sense they are entering a realm that, while brutal, is somewhere they must travel. Burgeoning manhood steadily builds barriers against the sweet encroachments of their mother's love.

Justin Torres's lyrical treatment of transgression can be shocking. If occasionally it appears that he is toying with the surreal, that's because the story contains enough dysfunctionality to distort our sense of reality. Paps tries to teach his wife and youngest son to swim, for example, by towing them out into the middle of a lake and letting them go.

Torres's extended use of the first-person plural sets a defiant marker and at times his prose has the intensity of poetry. Here's the narrator describing his mother in a state of disarray: "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."

This is a novel but every chapter could stand alone as a short story. Together they form a haphazard montage of events, each ending in understated epiphany. There are surprising developments. Rather than disintegrating, this family is like dough: it can take repeated pummellings and stretchings.

The autobiographical nature of Torres's narrative is reminiscent of David Vann, another US newcomer, and prompts the same question: whether Torres will widen his purview to material less directly related to his life story. In the meantime, his debut holds out the promise of further virtuoso writing.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in