Search results for ""Author Lisa Dillman""

One day, the children begin to show up in the subtropical town of San Cristóbal, unwashed and hungry. No one knows where they have come from or where they disappear to each night. And then they rob a supermarket and stab two adults, bringing fear to the town. So begins a thrilling morality tale that retraces the lines between good and evil, the civil and the wild, dragging our assumptions about childhood and innocence out into the light.

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On March 10, 1920, in Pachuca, Mexico, the Compania de Santa Gertrudis - the largest employer in the region, and a subsidiary of the United States Smelting, Refining and Mining Company - may have committed murder. The alert was first raised at six in the morning: a fire was tearing through the El Bordo mine. After a brief evacuation, the mouths of the shafts were sealed. Company representatives hastened to assert that "no more than ten" men remained inside the mineshafts, and that all ten were most certainly dead. Yet when the mine was opened six days later, the death toll was not ten, but eighty-seven. And there were seven survivors. A century later, acclaimed novelist Yuri Herrera has reconstructed a workers' tragedy at once globally resonant and deeply personal: Pachuca is his hometown. His work is an act of restitution for the victims and their families, bringing his full force of evocation to bear on the injustices that suffocated this horrific event into silence.

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A plague has brought death to the city. Two feuding crime families with blood on their hands need our hard-boiled hero, The Redeemer, to broker peace. Both his instincts and the vacant streets warn him to stay indoors, but The Redeemer ventures out into the city's underbelly to arrange for the exchange of the bodies they hold hostage.Yuri Herrera's novel is a response to the violence of contemporary Mexico. With echoes of Romeo and Juliet, Roberto Bolano and Raymond Chandler, The Transmigration of Bodies is a noirish tragedy and a tribute to those bodies - loved, sanctified, lusted after, and defiled - that violent crime has touched.

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The characters that populate Yuri Herrera's first collection of stories inhabit imagined futures that reveal the strangeness and instability of the present. Drawing on science fiction, noir, and the philosophical parables of Borges's Fictions and Calvino's Cosmicomics, these very short stories signal a new dimension in the work of this significant writer. In Ten Planets, objects can be sentient and might rebel against the unhappy human family to which they are attached. A detective of sorts finds clues to buried secrets by studying the noses of his clients, which he insists are covert maps. A meagre bacterium in a human intestine gains consciousness when a psychotropic drug is ingested. Monsters and aliens abound, but in the fiction of Herrera, knowing who is the monster and who the alien is a tricky proposition. This collection of stories, with a breadth that ranges from philosophical flights of fancy to the gritty detective story, leaves us with a sense of awe at our world and the worlds beyond our ken, while Herrera continues to develop his exploration of the mutability of borders, the wounds and legacy of colonial violence, and a deep love of storytelling in all its forms.

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The Mexico we hear of in the news - the drug cartels, migration and senseless violence - is rich soil for Herrera's moving stories of people who live in this reality but also live in the timeless realm of myth, epic and fairy tale, such as the singer Lobo in Kingdom Cons who loves the drug lord's own daughter, Makina who crosses borders to find her brother in Signs Preceding the End of the World, and the Redeemer, a hard-boiled hero looking to broker peace between feuding families during a pandemic in The Transmigration of Bodies. These three novels get to the heart of the matter in a truly original way. They are storytelling that is at once timely and timeless.

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In the court of the King, everyone knows their place. But as the Artist wins hearts and egos with his ballads, uncomfortable truths emerge that shake the Kingdom to its core. Part surreal fable and part noir romance, this prize-winning novel from Yuri Herrera questions the price of keeping your integrity in a world ruled by patronage and power.

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Signs Preceding the End of the World is one of the most arresting novels to be published in Spanish in the last ten years. Yuri Herrera does not simply write about the border between Mexico and the United States and those who cross it. He explores the crossings and translations people make in their minds and language as they move from one country to another, especially when there's no going back. Traversing this lonely territory is Makina, a young woman who knows only too well how to survive in a violent, macho world. Leaving behind her life in Mexico to search for her brother, she is smuggled into the USA carrying a pair of secret messages - one from her mother and one from the Mexican underworld.

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Her father died instantly, her mother in the hospital. She has learned to say this flatly and without emotion, the way she says her name (Marina), her doll's name (also Marina) and her age (seven). Her parents were killed in a car crash and now she lives in the orphanage with the other little girls. But Marina is not like the other little girls. In the curious, hyperreal, feverishly serious world of childhood, Marina and the girls play games of desire and warfare. The daily rituals of playtime, lunchtime and bedtime are charged with a horror; horror is licked by the dark flames of love. When Marina introduces the girls to Marina the Doll, she sets in motion a chain of events from which there can be no release. With shades of Daphne du Maurier, Shirley Jackson, Guillermo Del Toro and Mariana Enríquez, Such Small Hands is a beautifully controlled tour-de-force, a bedtime story to keep readers awake.

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Best Translated Book Award Longlist Reader’s Digest Great New Book World Literature Today Holiday Gift Guide Recommendation “Offer[s] surprise and revelation at every turn.” —Reader’s Digest “Eduardo Halfon is a brilliant storyteller.” —DANIEL ALARCÓN, author of At Night We Walk in Circles In Monastery, the nomadic narrator of Eduardo Halfon’s critically-acclaimed The Polish Boxer returns to travel from Guatemalan cities, villages, coffee plantations, and border towns to a private jazz concert in New York’s Harlem, a former German U-Boat base on the French Breton coast, and Israel, where he escapes from his sister’s Orthodox Jewish wedding into an erotic adventure with the enigmatic Tamara. His passing encounters are unforgettable; his relationships, problematic. At once a world citizen and a writer who mistrusts the power of language, he is pursued by history’s ghosts and unanswerable questions. He is a cartographer of identity on a compelling journey to an uncertain destination. As he draws and redraws his boundaries, he confronts us with the limitations of our own. Eduardo Halfon was named one of the best young Latin American writers by the Hay Festival of Bogotá and is the recipient of a Guggenheim Fellowship and the prestigious José María de Pereda Prize for the Short Novel. The Polish Boxer, his first book to appear in English, was a New York Times Editors’ Choice selection and finalist for the International Latino Book Award. Halfon is currently the Harman Writer in Residence at Baruch College in New York and travels frequently between his homes in Nebraska and Guatemala.

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