Justin Torres – författare

Three brothers tear their way through childhood - smashing tomatoes all over each other, building kites from rubbish, hiding 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. Barely out of childhood themselves, their love is a serious, dangerous thing. Life in this family is fierce and absorbing, full of chaos and heartbreak and the euphoria of belonging completely to one another. From the intense familial unity felt by a child to the profound alienation he endures as he begins to forge his own way in the world, this beautiful novel reinvents the coming-of-age story in a way that is sly and incredibly powerful.

Three brothers tear their way through childhood - smashing tomatoes all over each other, building kites from rubbish, hiding 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. Barely out of childhood themselves, their love is a serious, dangerous thing. Life in this family is fierce and absorbing, full of chaos and heartbreak and the euphoria of belonging completely to one another. From the intense familial unity felt by a child to the profound alienation he endures as he begins to forge his own way in the world, this beautiful novel reinvents the coming-of-age story in a way that is sly and incredibly powerful.

WINNER OF THE NATIONAL BOOK AWARD FOR FICTIONAn intimate, emotionally rich novel, in which two men - young and old - reckon with queer histories and their place within them, from the critically acclaimed author of We the AnimalsJuan Gay is on his deathbed. He has decided to spend his last days in The Palace: a monumental, fading institution in the desert, which was an asylum in another lifetime. There, a young man tends to this dying soul - someone who Juan met only once, but who has haunted the edges of his life ever since.As the end approaches, the two trade stories - resurrecting lost loves, lives, mothers and fathers - and their lives are woven, ineluctably, into a broader story of pathology and oppression. Charged with sifting through Juan's belongings, our narrator uncovers a copy of Sex Variants: A Study in Homosexual Patterns, its pages blacked out, censored, reduced down to poetic dispatches. And, as he sifts through the manuscript, another story is told: that of Jan Gay - a radical, queer anthropologist - whose ground-breaking work was co-opted, and stifled, by the committee she served.Blackouts is a haunting, dreamlike rumination on memory and erasure, blending fact with fiction - drawing from historical records, screenplays, testimony and image - to force us to look again at the world we have inherited and the narratives we have received.

Juan Gay lies dying in a room in The Palace: a monumental, fading institution in the desert. There, a young man cares for him - someone whom Juan met only once, but who has haunted the edges of his life ever since. As the end approaches, the two trade stories - resurrecting lost loves, mothers and fathers - and their lives are woven, ineluctably, into a broader story of sexuality, pathology and oppression. And, through their conversations, another story is told: that of the radical queer anthropologist Jan Gay, whose groundbreaking work was co-opted, and stifled, by the committee she served.Blending fact with fiction, and drawing on oral histories and historical records, screenplay, testimony and image, Blackouts is a haunting, dreamlike rumination on memory and erasure - on the ways in which stories sustain histories.