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Table of Contents
About The Book
Winner of the New Harmony Book Award
“One of the most intense—and often enjoyable—reading experiences I’ve had this year. I will surely be inhaling whatever C. Mallon writes next.” —Isaac Fitzgerald, The New York Times Book Review
A singular, devastating debut novel, Dogs traces the fallout of one catastrophic night in the lives of five high school wrestlers, asking what can survive in the blast radius of latent trauma and violence.
As night falls on the city of Carbon, Hal and his friends are cruising the backroads in their terrible car. From the wrestling gym to the gas station, from his mom’s kitchen to the mall parking lot, Hal bears quiet witness to the beauty and the horror he perceives in the slow, lonely world of his hometown.
Withdrawn and reticent, Hal is haunted by the specter of violence. Safety and comfort are hard won in Carbon, a town dogged by stories of desperation and brutality, and his own home is a dark vault of troubled and unspoken memory. Hal’s greatest peace is found in the company of his dearest friend, Cody John, whose true compassion offers him a window to a better life.
Over the course of a single night, a catastrophic chain of events is set into motion. Its devastating conclusion will explode the fragile balance that once kept the boys together. Unflinching, resolute, and beautifully rendered, Dogs is a stunning exploration of trauma, real love, and the limit of our ability to reach one another.
Excerpt
The whole of us together was Carter and Cody John, Zachary, Dylan, and me. I was Hal. It was the fall of the following year when we left Thursday wrestling practice, bristling damp from the steam of the showers, all of us packaged, strapped down and assembled in bluejeans and thermals, all of our long fingers fixing the snaps on our jackets, my Nikes laced tight how I liked for the leather to press on the bone. Late in October the parking lot hit us with leaf rot and woodsmoke, tobacco and soil. Dylan was crossing the black asphalt, leaving the rest of us stood by the cinderblock, and I was watching him, smearing his wet hair back out of his face, caught and held in a shaft of pink afternoon light. Zachary lit up a cigarette. Dylan was bringing the car around. Zachary always sat shotgun and Dylan would drive. Carter lay down in the trunk. Me and Cody John sat in the back. I mostly would take the left side and mostly he took the right. There was room, there, on the bench seat for Carter, but he really liked to lay down in the trunk. Now and then I would look back at him and he’d be laying flat with his legs bent and his hands up to cover his face, twitching his fingers apart so that he could change how the light hit him. That was the way that he calmed himself down. Carter was Zachary’s cousin. He was a really strange kid. We were headed to the gas station for chocolate milk. Pretty often we got chocolate milk and gas station hot dogs after a tough practice. They didn’t go well together. Thick and cold fat of the chocolate milk. Smoke and salt fat of the hot dogs. Sometimes it made me so sick. I couldn’t tag myself out of it. We had a ritual. I was a part of it. It really mattered that I was a part of it. Even with all of the windows down the car still stank of raw gasoline. Motor oil. Cody John hid the low half of his face in his shirt and his sweater to cancel out some of the fumes. Nothing but two eyes above the knit collar, but looking his way I could tell he was smiling, still. Dylan smoking while he drove and me and Cody choking in the back seat. If you got pissed off about it, he’d say, okay, go on and walk if you want to walk. Go on and walk. He’d hold the red cherry point of his cigarette down in his lap, tapping the ash on the stiff dirty thigh of his bluejeans. Whatever pants he was wearing were always birdshot through with crispy black cigarette burns. I wasn’t sure how to level with something like that. It didn’t make any sense to me. All of the wrestling coaches were mad at Dylan all the time. That got me frustrated. I couldn’t tell them how it didn’t matter. Dylan just wasn’t a regular man. He couldn’t feel it. He had this red jacket, tough woven nylon, taut, shiny as spun silk. Silk made out of plastic. That was the way that he was. I tried to meet him there. I figured that was all that you could do for somebody. None of us wanted a car that worked right. None of us wanted for Dylan to quit blowing smoke backward into the cavity of it. We wore the oil and smoke in the fibers of our hair and clothes and it made us the same as each other. That was a lot like the laundry detergent my mother used. Lavender. Anybody could’ve known me by that right away. Even with both of their eyes closed. Even with both of their hands up to cover their eyes. The sign on the road told us that we were leaving Carbon city limits. I knew it already. I put my forearms and shoulders out through the rear window and rested the bones of my chest on the rubber seal. There was some power to how the light hit with the sun low and open. Brittle blue haze on the broad sky. First of the hard frost the night prior. All of the leaves burnt the color of rust. Dylan was running a stop sign. We cut out onto a single-track farm road. I knew it already. Yellow wheat. Pylons and radio towers. We crossed Collins Creek. Something bad happened in Collins Creek when we were children. There were these two little twin boys, both dressed in their corduroy dungarees, taking a tan pack of safety matches from the kitchen drawer, coming down off of the screen porch to trample a path through the prairie grass, single file, gone to trap frogs in a Tupperware. Whole of the county the color of dust. Tinder dry. August. Passing the matchbox between them like it was a dollar. Like it was a claw machine prize. Strike strip rubbed rough on their soft hands. They knew not to play with fire in the house. They hadn’t known that upriver and one mile north on the highway a big eighteen-wheeler had jack-knifed, and folded, and come to rest, stiff as a pill bug in death, on its leftward side. Something had run out in front of it. Maybe a coyote. Maybe a kit fox. That truck had carried some eight thousand gallons of concentrated diethyl parathion. Cotton poison. Heavy pesticide. You couldn’t breathe it in. You couldn’t touch your hand to it. It’d damage your brain. The chemical company painted the tank in a sun-golden yellow so nobody would be afraid. Bright hull of steel, crumpled, split by the impact to cut loose the sun-golden toxin. Laminar flow set to foam on the tarmac, slough down through the storm drain and breach the low creek bed. It turned the half-stagnant creek water milky as any blind eye. They hadn’t known any better. They didn’t get anything wrong. I couldn’t help but to see them, there, little feet pinned in the silt and the marsh mud, and probably laughing, with no way to change it, and no way to turn it around. Which one of them struck the spark to light. Which one of them had drawn breath first. Who got a fistful of minutes more. When the bright head of the match hit the bloated creek, grub white and reeking of sulfur, it could have been gasoline. It wouldn’t have made any difference. Some long, tough farm kid ran out of the house when he saw the dark spiral of smoke on the blue sky. He ran track. He was the first on the scene. When they put him on the local news he couldn’t hardly talk. Choking on horror. He sat in the dirt and he wept. Hands gone to blister and ash. Acres of crop razed to cinder. He got there so fast and he dragged them out, burning. Eyes turned to wrinkled white skin on hot milk with the heat of it. Both of them blinded. Lungs charred and hair burnt to filament wires. They hadn’t known they were dying. They’d thought their mom would be mad that they’d ruined their dungarees. I couldn’t think about that for too long. There in the car I was turning my body around to look upward. I hauled my shoulders out through the red window frame. Fence struts and barbed wire smeared soft, blurred soft with velocity. I put my sneakers up onto the mock leather seat. My body a fulcrum. My body a crowbar. I wanted my pelvis, my sternum and femur-bones welded hot red to the tough iron frame of the car. I could’ve been bad machinery, too. I would’ve liked to have been that. I put my hands up to grip the red edge of the roof tight and I lay my head back. Candle aspens and the cottonwoods, cadmium yellow, and searing, and throwing sharp needles of porcelain light. Black wire strung on the blue sky. Monarch maple with its limbs gnarled and catching a sun flame, hands open, stark red on the blue sky. I wanted everything red all the time. I wanted my own bright, terminal planet of October. Drifts of crushed leaves on the hardpack dirt, bleeding. Cody John put his hand up and he gripped onto me. He was strong. He said, come on back, Hal. I thought about that, and looked at him, jaw pinned to collarbone, hung off the roof with my hands hurting. Quick sun shredded through the sparked trees to break up the patterns of his face. One eye gone liquid with light and then stamped out. Hair in a tiger-bright flame and then stamped out. He didn’t look right. I didn’t want to look long at his face. He looked like a videogame and he looked like somebody’s home movie. He could’ve been anybody. He could’ve been any other man. I fit my body back in through the window. All of the tension, caught, pinned tight and lethal as fishing line sewn through his soft face, went slack. I was glad of it. Cody John hit my right shoulder too hard but he wasn’t mad. Back in the car he was wearing his face the same way that he always had. That was a hallowed thing. I could still feel him there, five divot fingertip pressure, stiff, prickling hot through my bluejeans. I screwed my knuckles, tough, onto my sternum, too hard, how I wanted to get it to hurt. Dylan said, keep your limbs inside the ride. He was looking at me really weird in the rearview. Zachary snorted. He was curled down in his seat like a little kid, sneakers stamped up on the dash. He wasn’t wearing his seatbelt. Cody John wore his seatbelt all the time. I wasn’t sure what they kept me around for. Most of the time I was happy to be there. Sometimes somebody would say or do something and I would get troubled and strange about it. Nothing so bad had to happen in real life for me to get really freaked out on the inside. I couldn’t tell it to anyone. Mostly I had all the words but I couldn’t explain. Cody John made it okay for me. That was his big magic power. Nobody taught him to do it and somebody else would’ve gotten it wrong for me. Some other man would’ve been the wrong man.
Reading Group Guide
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Introduction
A singular, devastating debut novel, Dogs traces the fallout of one catastrophic night in the lives of five high school wrestlers, asking what can survive in the blast radius of latent trauma and violence.
As night falls on the city of Carbon, Hal and his friends cruise the backroads in their terrible car. From the wrestling gym to the gas station, from his mom’s kitchen to the mall parking lot, Hal bears quiet witness to the beauty and the horror he perceives in the slow, lonely world of his hometown.
Withdrawn and reticent, Hal is haunted by the specter of violence. Safety and comfort are hard-won in Carbon, a town dogged by stories of desperation and brutality, and his own home is a dark vault of troubled and unspoken memory. Hal’s greatest peace is found in the company of his dearest friend, Cody John, whose true compassion offers him a window to a better life.
Over the course of a single night, a catastrophic chain of events is set into motion. Its devastating conclusion will explode the fragile balance that once kept the boys together. Unflinching, resolute, and beautifully rendered, Dogs is a stunning exploration of trauma, real love, and the limits of our ability to reach one another.
Topics & Questions for Discussion
The book begins “What had gone wrong with me didn’t start out with the car.” Why do you think the book opens with the car, and what literal and figurative roles does the car play throughout the novel?
Consider the relationships between each of the friends. What do the power dynamics between the boys look like? What do they give to each other, and what do they take?
Discuss the different ways cycles of violence persist. How does your understanding of these cycles influence your opinion of characters who are the perpetrators and victims of violence?
Hal and his friends are on a wrestling team, though they are only depicted in practice and at wrestling meets in flashbacks. How does wrestling and what it represents appear throughout the book in other ways?
Dogs appear all over the book, literally and figuratively: stray dogs, big dogs, dogs with all bark and no bite, and more. Discuss all the ways dogs are depicted throughout the novel. What do you think they represent?
What do you think drew Cody John and Hal to each other? Discuss how their relationship morphs throughout the book. How did it begin? How did it end?
On page 132, we learn that Tough Guy bit Hal’s father: “He said that he was probably going to get Tough Guy put to sleep about it. He said that good dogs don’t bite.” Various times throughout the story, dogs are judged by how “good” or “bad” they are. If there really is such a thing as a “bad” dog, how does that change how we interpret the story? How does the notion of good and bad dogs relate to Hal and his friends?
“I wanted a powerful body,” Hal discloses on page 81. The body is a prominent theme in Dogs. How do the characters’ bodies shape their everyday lives in Carbon?
This book features a cast of tragic supporting characters: Daniel, Julia, and Styrofoam Bob, among others. Which supporting characters stood out the most to you? How do they enrich the narrative of Hal and his friends? What do they tell us about Carbon?
The Kevin Flowers incident haunts much of this book. Discuss your reactions to the revelation of the incident. What do you make of the second time Kevin and Hal meet?
On page 115, we learn more about Carbon: “The strip miners gutted the mountain a long while back. They’d wanted iron ore. They’d wanted diamonds. They didn’t ever find anything. A lot of them died for the seams of coal and copper holding out in the hard pressure of the earth.” What does this tell us about the area? How does this setting illuminate the plot?
Hal’s relationship to Julia is one that changes shape throughout the story. What does Julia mean to Hal before tragedy strikes? What does she mean to him by the end of the book?
Hal is a complex character; he’s full of love and he’s full of rage. By the end of the book, he’s treated some of the people around him, both close and not, in heinous ways. How has your perception of him changed throughout the novel? What made you want to follow his journey?
Enhance Your Book Club
As a group, talk about similar contemporary and twentieth-century novels that discuss masculinity, violence, and repressed trauma in America. How is Dogs in conversation with these texts?
Examine Carbon as a setting: its fictional history and its people according to Hal. Does this town remind you of similar towns and communities in America?
Scott Martelle’s Detroit and Amy Goldstein’s Janesville are nonfiction accounts of many of the same themes as Dogs: deindustrialization, violence, the cultural and political challenges faced by the people of a dwindling carbon city—and more. Consider reading one or both of these books with your book club, discussing their parallels with Dogs.
Product Details
- Publisher: Scribner (August 11, 2026)
- Length: 224 pages
- ISBN13: 9781668084434
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Raves and Reviews
“Aorta-smashing ... ... I am so glad I took the time to consume and be consumed by Dogs, one of the most intense—and often enjoyable—reading experiences I’ve had this year.”
—Isaac Fitzgerald, The New York Times Book Review
“I thought of Joyce Carol Oates at her rawest, or the brutal clarity of Denis Johnson in Jesus’ Son … For a debut, the achievement is astonishing … Dogs is a novel about adolescence, but also about America, about the rituals we inherit and the violence we refuse to name. It is one of the best debut novels of the year.”
—Philip Martin, Arkansas Democrat-Gazette
"[A] debut about a group of high school wrestlers and one very bad night in a bleak American town. The book’s clipped, violent, sometimes comic tone can be redolent of Denis Johnson and Cormac McCarthy…”
—The Washington Post
“A devastating novel … As propulsive and dynamic as a well-oiled machine ... Mallon punches you in the gut and doesn’t bother to stop when you’ve raised your white flag.”
—Our Culture Mag
“[A] raw and brilliant debut...Mallon’s moody and sinewy prose is the main event. This one hits hard.”
—Publishers Weekly, starred review
“[A] visceral gut punch ... Mallon’s characters are intensely nuanced, rendered in turn poetic and dark, ruined and hopeful.”
—Booklist
“A novel of almost depthless darkness and a show of significant talent.”
—Kirkus
“C. Mallon's work is equal parts scouring and clarifying, the kind of writing that exposes the wounds in order to irrigate them. Her characters are constitutionally unable to overlook the dirt and mess and pain of the world, yet haunted by the instinct that everything might have been some other way—on another planet, maybe, or in another life. Impairment, here, is a form of passion; transgression, a form of sanctitude.”
—Kevin Brockmeier, author of The Brief History of the Dead
“A tour de force, both heartful and heartbreaking, C. Mallon’s Dogs is a raw, beautiful excavation of the wounds blown open by the betrayal of life's most sacred relationships.”
—Daniel Magariel, author of One of the Boys
Resources and Downloads
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