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9780374194161

Lowboy: A Novel

Wray, John

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Early one morning in New York City, Will Heller, a sixteen-yearold paranoid schizophrenic, gets on an uptown B train alone. Like most people he knows, Will believes the world is being destroyed by climate change; unlike most people, he’s convinced he can do something about it. Unknown to his doctors, unknown to the police—unknown even to Violet Heller, his devoted mother—Will alone holds the key to the planet’s salvation. To cool down the world, he has to cool down his own overheating body: to cool down his body, he has to find one willing girl. And he already has someone in mind.   Lowboy, John Wray’s third novel, tells the story of Will’s fantastic and terrifying odyssey through the city’s tunnels, back alleys, and streets in search of Emily Wallace, his one great hope, and of Violet Heller’s desperate attempts to locate her son before psychosis claims him completely. She is joined by Ali Lateef, a missing-persons specialist, who gradually comes to discover that more is at stake than the recovery of a runaway teen: Violet—beautiful, enigmatic, and as profoundly at odds with the world as her son—harbors a secret that Lateef will discover at his own peril.   Suspenseful and comic, devastating and hopeful by turns, Lowboy is a fearless exploration of youth, sex, and violence in contemporary America, seen through one boy’s haunting and extraordinary vision.

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Review:

Amazon Best of the Month, March 2009: I'm not the first and certainly won't be the last reader to herald Lowboy for the subtle homage it pays to one of the best-known heroes in 20th century fiction, or to envy and delight in its masterful vision of New York City as seen from its darkest, most primal places. What's most seductive for me about John Wray's third novel--and arguably the one that puts him squarely on the map alongside contemporary luminaries like Joseph O'Neill, Jonathan Lethem, and Junot Diaz--is how skillfully it explores the mind's mysterious terrain. This isn't exactly uncharted land: John Wray's Will Heller--a.k.a. Lowboy--is a paranoid schizophrenic off his meds and on the lam, certain of both his own dysfunction and of the world's imminent collapse by way of global warming, but Wray handles that subtext delicately and is careful to make Will's mission to "cool down" and save the world feel single-minded without being moralistic. Wray invokes all the classic elements of a mystery in the telling, and that's what makes this novel such a searing read. As Will rides the subway in pursuit of a final solution to the crisis at hand, we meet (among others) Will's mother Violet, an Austrian by birth with an inscrutable intensity that gives the story a decidedly noir feel; Ali Lateef, the unflappable detective investigating Will's disappearance whose touch of brilliance always seems in danger of being snuffed out; and Emily Wallace, the young woman at the heart of Will's tragic odyssey. The novel moves seamlessly between Will's fits and starts below ground and Violet and Ali's equally staccato investigation of each other above. This kind of pacing is the stuff we crave (and we think you will, too)--the kind that draws you in so unawares that before you know it, it's past midnight and you're down to the last page. –- Anne Bartholomew

John Wray on Lowboy

Three years ago, not long after I'd begun Lowboy, I made a decision that--in retrospect--even I find slightly odd: to write as much of the novel as possible on the New York City subway. The reasons for this admittedly drastic step ranged from the practical (subway cars have no internet access, no cell phone reception, and next to no procrastination options) to the wildly romantic, if not outright ridiculous. Like some over-eager method actor, a part of me was convinced that I'd write about the subway more vividly and honestly if I immersed myself in it absolutely. Fully half of Lowboy's narrative takes place underground, much of it in the subway tunnels, so getting the look, smell, and feel of subterranean New York right was crucial to the book's success. It also happened to be cheaper than renting an office.

The challenges of my new workplace weren't the ones that I'd expected. I was amazed at how effectively I was able to tune out the commotion around me, simply by putting on headphones: a good playlist on my laptop was essential, but beyond that, as long as I avoided rush hour, staying focused presented no great problem. The seats in the older cars made my back hurt after a few hours, certain stretches of track in the outer boroughs were so rough that it was hard to type properly, and restrooms were few and far between, but I adjusted to those things in time. The more comfortable I got, however, the more my frustration grew, for the simple reason that the subway was starting to feel like my living room. I was becoming resistant to its strangeness: I was seeing it with the eyes of a commuter. Nothing could have been farther from the point of view of my protagonist, a sixteen-year-old schizophrenic boy, newly escaped from the hospital, to whom even the most familiar things feel alien. The harder I looked, the less I seemed to see.

I'm not sure what triggered the change that came a few weeks later, but I know that it came suddenly. I was riding the Coney Island-bound F in the early morning, staring blankly out the window at the tunnel racing past; I remember feeling bored and vaguely hungry. When I turned around, though, I seemed to be in a different car completely. For the first time, every feature of the interior had a clear purpose to me: the seats stopped short of the floor for ease of cleaning, the orange and brown tones were meant to encourage well-being, and the polka-dot pattern on the walls, which I'd never looked at closely, was in fact made up of the official seal of the state of New York, repeated countless times in brown and grey. The discovery made me a little paranoid--on the lookout, suddenly, for more signs of Big Brother's presence--which was just the state of mind I'd been pursuing. From then on, the novel all but wrote itself.

About the Author:

John Wray is the author of two critically acclaimed novels, The Right Hand of Sleep and Canaan’s Tongue. He was named one of Granta magazine’s Best of Young American Novelists in 2007. The recipient of a Whiting Award, he lives in Brooklyn, New York.

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Wray, John Author
Published by Farrar, Straus and Giroux (2009)
ISBN 10: 0374194165 ISBN 13: 9780374194161
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Book Description Farrar, Straus and Giroux, 2009. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: "[Wray] succeeds with a brisk plot and odd moments of humor. The story's final grimness is tough, but it's hard not to admire this bullet train of a book for its chilling power."Stacey Levine,Bookforum "Wray is an obviously gifted writer, who treatment of Will is a tour de force of empathy, style, and imagination."Booklist "John Wray'sLowboyis a psychotic, subterranean, environmentally conscious, coming-of-age novel. It is also an affecting and affectionate love letter to New York. Lowboyis John Wray at his highest."Nathan Englander, author ofMinistry of Special Cases "Through the windows of John Wray's rumbling express, we catch sight of the deep darkness that lives inside the human psyche.Lowboyis a riveting and disturbing ride, illuminating one adolescent boy's shadowy underground, and giving us glimpses of our own as well." Colson Whitehead, author ofApex Hides the Hurt "The novel has a thriller-like pace, and Wray keeps us riveted and guessing, finding chilling rhetorical and pictorial equivalents for Will's uniquely dysfunctional perspective.The suspense is expertly maintained, straight through the novel's dreamlike climactic encounter and heart-wrenching final paragraph. The opening pages recall Salinger's Holden Caulfield, but the denouement and haunting aftertaste may make the stunned reader whisper "Dostoevsky." Yes, it really is that good." Kirkus (starred) "America's most original young writer has given us a book for the ages. Compelling, compassionate, and deeply unsettling, Lowboy introduces us to the brilliant sixteen-year-old Will Heller, a hero as three-dimensional as any in recent fiction, a Holden Caulfield for our troubled times."Gary Shteyngart, author ofThe Russian Debutante's HandbookandAbsurdistan "Wray's captivating third novel drifts between psychological realities while exploring the narrative poetics of schizophrenia. . . . Wray deploys brilliant hallucinatory visuals, including chilling descriptions of the subway system and an imaginary river flowing beneath Manhattan. In his previous works, Wray has shown that he's not a stranger to dark themes, and with this tightly wound novel, he reaches new heights." Publishers Weekly(starred) "Wray presents a powerful and vivid portrait of Will's mental state, believably entering into his apocalyptic vision of the world." Library Journal "Lowboysucks you into the tunnels under NY and doesn't let you go until its perfect ending. Wray effortlessly portrays the cracked and distorted mind of his teenage hero. What a beguiling novel." Tim Pears, author ofIn The Place of Fallen Leaves. Bookseller Inventory # ABE_book_new_0374194165

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