Blackouts (National Book Award Winner)

by Justin Torres

Overview

Notes From Your Bookseller

From Justin Torres, author of We the Animals, comes National Book Award-winner Blackouts, a gorgeous novel exploring love, loss and the stories we leave behind. With inventive and transformative form and prose that only deepens the resonance of the written word, this expands the boundaries of what a novel can be in the best of ways.

Winner of the National Book Award for Fiction
Short-listed for the National Book Critics Circle Award for Fiction, the Los Angeles Times Book Prize for Fiction, the California Book Award for Fiction, and the Lambda Literary Award for Gay Fiction
Winner of Tournament of Books

A Best Book of the Year: The New York Times Book Review, NPR, The Washington Post, Time, Fresh Air, Vanity Fair, NBC News, The BBC, The Guardian, The Boston Globe, Granta, The New York Public Library, The Washington Independent Review of Books, Electric Literature, Them, Literary Hub, BookPage, Gay Times, Book Soup, Five Books, Southwest Books

“Like no book I have ever read.” —Ari Shapiro, NPR’s All Things Considered

Out in the desert in a place called the Palace, a young man tends to a dying soul, someone he once knew briefly but who has haunted the edges of his life: Juan Gay. Playful raconteur, child lost and found and lost, guardian of the institutionalized, Juan has a project to pass along, one built around a true artifact of a book—Sex Variants: A Study of Homosexual Patterns—and its devastating history. This book contains accounts collected in the early twentieth century from queer subjects by a queer researcher, Jan Gay, whose groundbreaking work was then co-opted by a committee, her name buried. The voices of these subjects have been filtered, muted, but it is possible to hear them from within and beyond the text, which, in Juan’s tattered volumes, has been redacted with black marker on nearly every page. As Juan waits for his end, he and the narrator recount for each other moments of joy and oblivion; they resurrect loves, lives, mothers, fathers, minor heroes. In telling their own stories and the story of the book, they resist the ravages of memory and time. The past is with us, beside us, ahead of us; what are we to create from its gaps and erasures?

A book about storytelling—its legacies, dangers, delights, and potential for change—and a bold exploration of form, art, and love, Justin Torres’s Blackouts uses fiction to see through the inventions of history and narrative. A marvel of creative imagination, it draws on testimony, photographs, illustrations, and a range of influences as it insists that we look long and steadily at what we have inherited and what we have made—a world full of ghostly shadows and flashing moments of truth. A reclamation of ransacked history, a celebration of defiance, and a transformative encounter, Blackouts mines the stories that have been kept from us and brings them into the light.

Product Details

ISBN-13:	9780374293574
Publisher:	Farrar, Straus and Giroux
Publication date:	10/10/2023
Pages:	320
Sales rank:	7,068
Product dimensions:	5.80(w) x 9.10(h) x 1.20(d)

About the Author

Justin Torres is the author of We the Animals, which won the VCU Cabell First Novelist Award, was translated into fifteen languages, and was adapted into a feature film. He was named one of the National Book Foundation’s 5 Under 35, a Wallace Stegner Fellow at Stanford University, a fellow at the Radcliffe Institute for Advanced Study at Harvard University, and a fellow at the New York Public Library’s Cullman Center. His short fiction has appeared in The New Yorker, Harper’s Magazine, Granta, Tin House, and The Washington Post. He lives in Los Angeles and is an associate professor of English at UCLA.

Editorial Reviews

08/07/2023

Torres’s ambitious sophomore outing (following We the Animals) intersperses a fictional biography of early 20th-century sex researcher Jan Gay with an enticing if murky present-day narrative. The unnamed 20-something narrator visits a dying man named Juan, whom he first met at 17, when they were patients at a psychiatric hospital. Now, after having accidentally flooded his apartment, the narrator moves into Juan’s rundown building (inhabited, in Juan’s words, by a “badling of queer ducks”) and promises to carry out Juan’s unfinished project involving a research study published in 1941—Sex Variants: A Study in Homosexual Patterns by George W. Henry—that draws on Gay’s research. Juan’s copy of the book is heavily redacted, leaving “little poems of illumination... a counternarrative to whatever might have been Dr. Henry’s agenda,” to de-pathologize Henry’s case studies and restore the egalitarian spirit of Gay’s groundwork. Juan and the narrator’s dialogues can feel contrived, but just as the Sex Variants erasure poems sparkle with possibility, so too does Torres make fruitful use of references to literature and art, including a Carl Van Vechten photo of a famous gay male ballet dancer and a children’s book by Gay’s partner Zhenya, the latter of which proves to contain deliciously queer subtext. At its best, this captures the spirit of Torres’s pangs of inspiration. Agent: Jin Auh, Wylie Agency. (Oct.)

Publishers Weekly

Sweeping, ingenious . . . A kiss to build a dream on.”
—Maureen Corrigan, NPR’s Fresh Air

“An extraordinary achievement . . . A perfect book.”
—Bill Goldstein, Weekend Today in New York

“Torres swings for the bleachers in Blackouts, a transfixing collage of gorgeous prose and manipulated illustrations . . . It’s easily 2023’s sexiest novel . . . A tour de force. Run, don't walk, to buy it.”
—Hamilton Cain, Star Tribune

“As ambitious and bold as it is beautifully elegiac, this dynamic novel captures the act of storytelling as though one’s life depends on it . . . An atmospheric, brilliant novel.
—Lauren LeBlanc, The Boston Globe

“The supreme pleasure of [Blackouts] is its slow obliteration of any firm idea of reality . . . Torres haunts this book full of ghosts like a ghost himself, and with this novel, he has passed the haunting on.”
—Hugh Ryan, The New York Times Book Review (Editors’ Choice)

“Shimmering, fable-like . . . An ingenious assemblage of research, vignette, image and conceit . . . Playful and mysterious, there’s much in it to admire.”
—Charles Arrowsmith, The Washington Post

“A surreal, expansive, audacious excavation of queer history and identity.”
—David Canfield, Vanity Fair

“A transfixing and emotional examination of history . . . [Blackouts] illuminates the ways in which the lives and experiences of marginalized people have long been omitted from written records.”
—Megan McCluskey, Time

“Artfully blur[s] history, autobiography and fiction . . . Beautiful.”
—Sam Sacks, The Wall Street Journal

“If you locked Shirley Jackson and David Wojnarowicz in a room together, they might invent the kind of moldering dreamworld that Justin Torres conjures in [Blackouts] . . . [A] glorious book.”
—Beejay Silcox, The Guardian

“An experimental journey into the annals of queer history that is equal parts intergenerational love letter and homoerotic fever dream.”
—Jeremy Childs, Los Angeles Times

“A vital novel about the erasure of queer history.”
—Adrienne Westenfeld, Esquire

“A dreamy novel that unfurls among mixed media and Socratic dialogues, moving freely between fact and fiction as it proposes and complicates questions about how history is made.”
—Joshua Barone, The New York Times

“Dazzling . . . Torres has created his own queer history story through the eyes of the narrator learning from Juan through art, poetry, and more. The result is prismatic and beautiful.”
—Sarah Neilson, Shondaland

“A triumph.”
—Christian Paz, Vox

“Each page of Blackouts is like a lens that Torres clicks into place, some of them clarifying your vision, others obscuring it, until, eventually, you can see.”
—Tope Folarin, The Atlantic

“Irresistible . . . [An] ambitious, unruly novel of ideas . . . [and] a deeply moving queer love story.”
—Steven Pfau, Chicago Review of Books

“As demanding and beautifully difficult as it is seductive, disarming, and important.”
—Brontez Purnell, BOMB

“Disorientation is a pleasure in [Blackouts] . . . An earnest project that does not seek to distill settled conclusions from the queer past.”
—Colton Valentine, Bookforum

“Blackouts soars . . . A rare masterpiece.”
—Christopher Bollen, Interview

From the Publisher

2023-08-12
An unnamed narrator and his elderly interlocutor weave together forgotten queer histories in Torres’ second novel, following We the Animals (2011).

When the 20-something narrator wakes up from a blackout to find his kitchen flooded, he drives into the desert to visit Juan, an elderly friend who lives with “a badling of queer ducks” in a housing complex called the Palace. In exchange for a place to stay, the narrator agrees to carry on Juan’s life project, which involves a (real) 1941 research study called Sex Variants: A Study in Homosexual Patterns. Though the research was begun in 1935 by Jan Gay, a lesbian anthropologist, the author named in the published study was psychiatrist George W. Henry, who used the text to pathologize homosexuality. Perusing Juan’s copy of the study, the narrator discovers largely blacked-out pages featuring highlighted fragments of text that Juan calls “little poems of illumination,” exercises in erasure that attempt to wrest the text from Dr. Henry and blow life back into the individual testimonies collected by Gay. Scans of the blacked-out pages of Sex Variants, in addition to related photographs and documents from Gay’s fictional archive, punctuate the novel’s short chapters, which capture Juan and the narrator’s conversations. Composed of stories both real and invented, collective and personal—Juan frequently asks the narrator to tell him about his sexual exploits—the novel's interlocutory structure recalls Manuel Puig’s Kiss of the Spider Woman. As playful, inventive, and at times kaleidoscopic as the book may be, the dialogue between Juan and the narrator often comes across as forced, with some blocks of storytelling (including the entirety of Torres’ short story “Reverting to a Wild State,” which was published in The New Yorker in 2011) feeling wedged in. The novel shines and surprises, though, in sections where the characters interweave cultural and historical artifacts, as well as memory and literary references, to reconstruct and revise queer history. Here, the novel’s central question about where storytelling ends and history begins comes to the fore, albeit with no clear resolution. It's up to the reader, the narrator concludes, to decide where truth and fiction converge.

An inventive novel that displays the scope of its author’s ambitions.

Kirkus Reviews