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.

“Lowboy is uncompromising, often gripping and generally excellent . . . One of the novel’s many pleasures is just going along: putting yourself fully in the hands of the story and its author, being drawn in, gradually immersed, making the connections, appreciating those seeds as they bloom into the tale’s developing complexity, danger and tragedy. By the time it all falls into place, the reader is long hooked and turning back is not an option . . . This is a meticulously constructed novel, immensely satisfying in the perfect, precise beat of its plot.”—Charles Bock, The New York Times Book Review

“Lowboy is uncompromising, often gripping and generally excellent . . . One of the novel’s many pleasures is just going along: putting yourself fully in the hands of the story and its author, being drawn in, gradually immersed, making the connections, appreciating those seeds as they bloom into the tale’s developing complexity, danger and tragedy. By the time it all falls into place, the reader is long hooked and turning back is not an option . . . This is a meticulously constructed novel, immensely satisfying in the perfect, precise beat of its plot. Wray, however, has larger goals than a thrill ride. The book's core is a nexus of tragedy—the tragedy of a 17-year-old girl who, though she knows better, might do anything for the boy she loves; the tragedy of a mother whose life has been devoted to her son, yet who is incapable of helping him and who just may have been the source of his troubles; the tragedy of a middle-aged man caught between protecting the public and helping a parent; and finally, ultimately, the tragedy of a bright and beautiful teenager who not only must deal with all the confusions and pressures of being 16, but who, through no fault of his own, is not stable enough to be able to purchase a cupcake without confrontation. I'd be proud to be seen reading this novel on the downtown 6, or anywhere else at all.”—Charles Bock, The New York Times Book Review

"What ever happened to the American Man? You know, the one who bullied and swore and drank his way through novels full of cigarette smoke, big cars and red meat? The one who'd abandon his family for a prostitute, or coerce his girlfriend into a threesome, or sleep with the housekeeper after murdering his wife? What happened to all those Rabbits and Portnoys and Rojacks and Wapshots and Herzogs? And does anyone really miss them? Judging from a sampling of recent male-penned fiction, the answer is no, not really . . . Which brings us to a tale told by a schizophrenic teenager, John Wray's dizzyingly seductive Lowboy. Wray's protagonist is on the lam from a mental institution, loose among the commuters and winos and rolling thunder of the Manhattan subway. Making your central character deeply insane is, of course, a risky and ambitious trick, but Wray carries it off with a fluid, inventive style that rises at times to a frightening pitch. Lowboy is an amplified hero for our times; despite his violence and craziness and incoherence, he is fundamentally sweet and in search of love."—Michael Lindgren, The Washington Post

"John Wray is less interested in Lowboy’s picaresque circuits than in his mental circuits, whose damaged condition is brilliantly, compassionately evoked in the novel . . . Wray is never boring, largely because he has an uncanny talent for ventriloquism, and he seems to know, with unerring authority, how to select and make eloquent the details of Lowboy’s illness. He uses a variety of literary techniques . . . What is impressive about the book is its control, and its humane comprehension of radical otherness. In this regard, it ideally justifies itself, as one always hopes novels will. You can imagine replying to someone who was curious about what it’s like to be schizophrenic, 'Well, start with John Wray’s novel.' Lowboy may often be lost to himself, but he is not lost to us. Wray knows how to induce and then manage a kind of epistemological schizophrenia in the reader, whereby we can inhabit Lowboy’s groundless visions and still glimpse the ground they negate. There is a brilliant scene, like something out of Pinter, in which Lowboy is at a bakery in the Village, buying cupcakes. Emily waits for him outside. He is at the counter, and all is going reasonably well. But then his attention is caught by the bag . . . Lowboy is exceptionally tender and acute . . .  John Wray is a daring young writer, highly praised for his last two novels . . . These scenes are elegantly done, and are often moving."—James Wood, The New Yorker

“[A] masterful third novel . . . The tone here is a departure for Wray . . . Lowboy is both sharper and more compressed . . . Lowboy is at its be