Search results for ""Charco Press""

Explorers, Dreamers and Thieves is an adventure through memory and archives. This book is an exercise in invention that emerges from the complex history of encounter between Europe and the Americas. Following the success ofUntold Microcosms which saw ten Latin American authors write stories inspired by objects from their countries held by the British Museum the curatorial team at the Museum and at Hay Festival have joined forces again, this time with a slightly different proposal.Six writers Selva Almada ,Rita Indiana ,Josefa Sánchez ,Philippe Sands ,Juan Gabriel Vásquez andGabriela Weiner were invited to examine a series of ethnographic documents: a profusion of diaries, letters, drawings, thoughts and transactions, all referring to the acquisition of works for the collection. Using this material as a starting point, they were asked to imagine narratives about the people involved in bringing those pieces to the museum. The journey through these texts is not unlike the one that, i

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After her ex-husband dies unexpectedly, Nora García travels to the funeral, back to a Mexican village from her past and the art and music of their life together.The way you hold a cello, the way light lands on a Caravaggio, the way the castrati hit notes like no one else could—a lifetime of conversations about art and music and history unfolds for Nora García as she and a crowd of friends and fans send off her recently deceased ex-husband, Juan. Like any good symphony, there are themes and repetitions and contrapuntal notes. We pingpong back and forth between Nora’s life with Juan (a renowned pianist and composer, and just as accomplished a raconteur) and the present day (the presentness of the past), where she sits among his familiar things, next to his coffin, breathing in the particular mix of mildew and lilies that overwhelm this day and her thoughts. In Glantz’s hands, music and art access our most intimate selves, illustrating and creating our identities, and offering us ways to express love and loss and bewilderment when words cannot suffice. As Nora says, “Life is an absurd wound: I think I deserve to be given condolences.”

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My brother is adopted, but I can’t say and don’t want to say that my brother is adopted. If I say this, if I speak these words that I have long taken care to silence, I reduce my brother to a single categorical condition, a single essential attribute...A young couple, involved in the struggle against the military dictatorship in 1970s Argentina, must flee the country. The brutality and terror of the regime is closing in around them. Friends are being ‘disappeared’. Their names are on a list. Time is running out. When they leave, they take with them their infant son, adopted after years of trying for a child without success. They build a new life in Brazil and things change radically. The family grows as the couple have two more children: a son and a daughter.Resistance unfolds as an intimate portrayal of the formation of a family under extraordinary circumstances, told from the point of view of the youngest child. It’s an examination of identity, of family bonds, of the different forms that exile can take, of what it means to belong to a place, to a family, to your own past.Already winner of the Jabuti Award for Book of the Year 2016 (Brazil), the José Saramago Literary Prize 2017 (Portugal) and the Anna Seghers Prize 2018 (Germany), Resistance demonstrates remarkable courage and skill by one of Brazil’s rising literary stars.

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Man Booker International Prize 2018 FinalistIn a forgotten patch of French countryside, a woman is battling her demons: embracing exclusion yet wanting to belong, craving freedom whilst feeling trapped, yearning for family life but wanting to burn the entire house down. Given surprising leeway by her family for her increasingly erratic behaviour, she nevertheless feels ever more stifled and repressed. Motherhood, womanhood, the banality of love, the terrors of desire, the brutality of ‘another person carrying your heart forever’: Die, My Love faces all this with a raw intensity. It’s not a question of if a breaking point will be reached, but rather when, and how violent a form will it take?It’s impossible to come out unscathed from reading Ariana Harwicz. The language of Die, My Love cuts like a scalpel even as it attains a kind of cinematic splendour, evoking the likes of John Cassavetes, David Lynch and John Ford. In a text that explores the destabilising effects of passion and its absence, immersed in the psyche of a female protagonist always on the verge of madness (in the tradition of Sylvia Plath and Clarice Lispector), Harwicz moulds language, submitting it to her will in irreverent prose. Bruising and confrontational, yet anchored in an unapologetic beauty and lyricism, Die, My Love is a unique reading experience that quickly becomes addictive.

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Shortlisted for the International Booker Prize 20201872. The pampas of Argentina. China is a young woman eking out an existence in a remote gaucho encampment. After her no-good husband is conscripted into the army, China bolts for freedom, setting off on a wagon journey through the pampas in the company of her new-found friend Liz, a settler from Scotland. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentina’s richly diverse flora and fauna, cultures and languages, as well as to the ruthless violence involved in nation-building.This subversive retelling of Argentina’s foundational gaucho epic Martín Fierro is a celebration of the colour and movement of the living world, the open road, love and sex, and the dream of lasting freedom. With humour and sophistication, Gabriela Cabezón Cámara has created a joyful, hallucinatory novel that is also an incisive critique of national myths.

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Following the international success of Die, My Love (longlisted for the Man Booker International Prize 2018), Ariana Harwicz again takes us into the darkest recesses of the imagination with this delirious, furious account of a mother and daughter bound by chaos as much as love. Driven to the edge by the men in their lives, they oscillate between erratic bursts of housework, lazing in the garden, and drunken escapades. But is the constant undercurrent of violence all in the daughter’s mind or will they actually go through with their plan for revenge? With a shocking, edge-of-the-seat finale worthy of Thelma & Louise if it were remade by David Lynch, Feebleminded is a wild ride of a novel with echoes of Ágota Kristóf, Elfriede Jelinek and Alan Warner, and will leave you both shaken and begging for more.

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Life under Brazil's brutal cordial racism comes painfully alive in this novel of fathers and sons. How do you become the protagonist of your own life? For Pedro, it means searching for himself in the objects his father left behind: the layers that make up his life, and that of his parents, and the circumstances, geographies, and wounds that shaped them all. It's an archaeology of affections, but also of life in southern Brazil, where being black on the streets of Porto Alegre manifests violences large and small. Where being a young woman, raised by a single mother, may find you seeking security in the untrustworthy arms of men.In Dark Side of Skin , Jeferson Tenório takes on fathers and sons, Shakespeare and Cervantes, and the inescapable bonds and burdens of family and history in one delicately rendered, painfully precise account of loved ones lost and found.

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From the author of Elena Knows , finalist for the 2022 International Booker Prize20 years after a shocking accident, Mary Lohan returns to the Buenos Aires suburb she escaped in a fugue of guilt and isolation. She is not the same—not her name or voice, not even the color of her eyes. The neighborhood looks different too, but she’s still the same woman and it’s still the same place, and as the past erupts into view, they slowly collide. A Little Luck is the story about the debilitating weight of lies, the messy line between bravery and cowardice, and the tragedies, big and small, that can ripple out from a single decisive event. In a place she had determined to forget forever, both anticipated encounters and unanticipated revelations show her, and us, that sometimes life is neither fate nor chance: perhaps it’s nothing more than a little luck.

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How do you will a life into order? Adrift in Germany, a pregnant, aimless Argentine and her small circle of friends try and fail to find out.Fall in Heidelberg, and in a student residence a not-student, a woman from Argentina, is busy not figuring out what to do next. She’s pregnant. Shanice, a Japanese student she had barely befriended, has died. Shanice’s mother has arrived from Tokyo and will not leave. And Javier Miguel, a fellow Argentine, is frantic that his sister back home might be overly involved with a local psychic. The German Room is a novel of not-moving on, of not-growing up, of not-failing better. As fall turns to winter, things change but nothing is different, and comedy and tragedy are harder to tell apart. And in Carla Maliandi’s hands, entropy becomes a vibrant, life-affirming creative force.

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A taut, appealing, and often quite funny exploration of existential angst."—Kirkus ReviewsIn a nameless suburb in an equally nameless country, every house has a room reserved for the president. No one knows when or why this came to be. It’s simply how things are, and no one seems to question it except for one young boy.The room is kept clean and tidy, nobody talks about it and nobody is allowed to use it. It is for the president and no one else. But what if he doesn’t come? And what if he does? As events unfold, the reader is kept in the dark about what’s really going on. So much so, in fact, that we begin to wonder if even the narrator can be trusted...Ricardo Romero has been compared to Franz Kafka and Italo Calvino, and we see why in this eerie, meditative novel narrated by a shy young boy who seems to be very good at lying about the truth. Following in the footsteps of Julio Cortázar and a certain literary tradition of sinister rooms (such as Dr Jekyll’s laboratory), The President’s Room is a mysterious tale based on the suspicion that a house is never just one single home.

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How do we even begin to narrate the history of the world? Where do we start, and where do we end? Fireflies is Sagasti’s bold and original attempt to answer these questions. Roaming across time and geography, he lights on an eclectic array of characters and events that at first glance seem unrelated, and teases out their stories to reveal unexpected points of contact between them. Stanley Kubrick, Joseph Beuys, Antoine de Saint-Exupéry, Neil Armstrong, Ludwig Wittgenstein, the Beatles, Japanese poets, Brazilian priests, Russian cosmonauts and many more cross these pages, and Sagasti finds common threads that weave them together into a single narrative.The fireflies themselves perhaps provide the key to understanding this book. They become a metaphor for the resistance of certain luminous moments, certain twinkling fragments of history, to the passing of time. They remind us that events do not always simply disappear neatly into the darkness, but rather remain, floating in the air, lighting up the night sky indefinitely. Sagasti shows us that the present moment, like this novel, is a tapestry woven of a multiplicity of times.Using his unique, poetic and keenly observant style, Sagasti transforms the accidents of history into a single, lyrical constellation, and for the reader it is an extraordinary sight.

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SHORTLISTED for the International Booker Prize 2022After Rita is found dead in a church she used to attend, the official investigation into the incident is quickly closed. Her sickly mother is the only person still determined to find the culprit. Chronicling a difficult journey across the suburbs of the city, an old debt and a revealing conversation, Elena Knows unravels the secrets of its characters and the hidden facets of authoritarianism and hypocrisy in our society.

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"His stories shimmer like revelations – the clarity, mystery, beauty, depth, and sheer, thrilling peculiarity of ordinary life when the veil lifts. They’re exhilarating to read, just as exhilarating to re-read." —Deborah EisenbergChildhood does not last long in the Argentine mountains of Córdoba, and adult lives fall apart quickly. In disarming, darkly humorous stories, Federico Falco explores themes of obsessive love, romantic attachment and the strategies we must find to cope with death and painful longing.In the middle of a blizzard a widow watches the ruin of her late-husband’s garden, until suddenly she sees a woman running naked in the falling snow. After telling her parents she is abandoning her Christian faith, a girl becomes infatuated with a Mormon missionary who reminds her of a boy killed in her village years before. When his family’s home is lost, a father desperately offers his daughter’s hand in marriage to anyone who will take them in. And a town’s mayor tries to fulfill his father’s dying wish – to design the perfect cemetery.

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Brutal y sobrecogedora, una novela con la dictadura argentina como telón de fondo.Tres historias que forman parte de una misma historia. En 1941, en una ciudad de provincias argentina, una niña confiesa a un sacerdote los primeros y difusos impulsos sexuales que nota en su cuerpo, relacionados con la atracción que siente por un joven apellidado Videla que pasa cada día bajo su ventana. En 1977 un grupo de jóvenes revolucionarios prepara un atentado en un aeródromo para liquidar a un Videla que ya no es joven y es conocido por todos. Y, por último, una anciana –la niña de la primera historia– juega una partida de cartas con su nieto, que ha ido a visitarla a la residencia donde pasa sus días, y entre jugada y jugada le cuenta lo que le sucedió a su hijo, el padre del chico, en lo que resulta una nueva confesión. Tres historias y tres tiempos que se entretejen para forjar una única historia. Tres historias que hablan de dolor, culpa y confesiones.Una novela sobrecogedora y deslumbrante, construida con una brillantísima arquitectura que le permite al autor penetrar hasta la médula de las historias –de la historia– que nos relata.Brutal and overwhelming, Confession wrestles with the legacy of Argentina’s past and the passions of one young girl.There are mysteries in the world of man, just as there are in the Kingdom of God, and that they too, albeit quite differently, are unfathomable.When Mirta López looks out the dining room window, she sees a slim, self-possessed older boy on his way back from school. It’s 1941 in provincial Argentina, and the sight of the Videla’s eldest son has awakened in her the first uncertain, unnerving vibrations of desire. Naturally, she confesses. But she cannot stop herself. Thirty years later, Videla is a general, leading the ruling military junta, and a cell of young revolutionaries plot an ingenious attack on him, and the regime. Writing from the present into the past, Martín Kohan maps the contours of Argentina’s 20th Century, but finds his center in one woman—devout, headstrong, lit up with ideas of right and wrong—not the grand historical figures of her lifetime’s omnipresent, brutalizing history. “There is an art to keeping lives constant, not allowing them to be altered by facts that are merely external.” And there is great beauty in Confession , its decades and landscapes, and the legacy of love and guilt playing out in one family and against the background of dictatorship’s traumas.

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Brutal and overwhelming, Confession wrestles with the legacy of Argentina’s past and the passions of one young girl.When Mirta López looks out the dining room window, she sees a slim, self-possessed older boy on his way back from school. It’s 1941 in provincial Argentina, and the sight has awakened in her the first uncertain, unnerving vibrations of desire. Naturally, she confesses. But she cannot stop herself.Over thirty years later, in 1977, that same young man is a general, leading the ruling military junta of a country, and a cell of young revolutionaries plot an audacious attack on him, and the regime.Writing from the present into the past, Martín Kohan maps the contours of Argentina’s 20th century, but finds his centre in one woman – devout, headstrong, lit up with ideas of right and wrong – not the grand historical figures of her lifetime’s omnipresent, brutalizing history. And yet, there is great beauty in Confession , its decades and landscapes, and the legacy of love and guilt, pieties religious and civic, that play out in one family and against the background of dictatorship’s traumas.

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Short stories of subtle menace and Lydia Davis-esque humor.On the eve of an important battle, a colonel is visited in his tent by an indigenous woman with a message to pass on. A man sets about renovating the house of his childhood, and starts to feel that he might be rebuilding his own life in the process. At a private clinic to treat the morbidly obese, a caregiver has issues of her own…These are stories of immigration, marginality, history, intimacy and obsession. They each present their own distinctive view of the world through the lives of their respective characters – who are as dissimilar as they are complex – and the profound transformations they undergo. As reflections on the uncontrollable nature of life, as depictions of how even the most innocent detail can become a threat, these stories do not offer neat endings but rather remain open to the reader’s sense of inquisitiveness.Southerly is a perfect introduction to what has been called ‘the Consiglian logic of story-telling’ (Cabezón Cámara), in which events don’t always occur sequentially, and where the reader quickly learns to tiptoe between the tiniest of details, as if walking through a minefield.

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¿Cómo mantener una amistad intacta cuando el Alzheimer se va llevando consigo las bases del lenguaje, la memoria y las experiencias compartidas?La narradora visita casi diariamente a ML., con quien compartió una estrecha amistad y ahora padece mal de Alzheimer. A partir de esos encuentros y los fragmentos de memoria de ML. va construyendo un relato poderosamente conmovedor sobre la desarticulación de una mente que progresivamente va borrando todo de una manera peculiar.Un intento, a través de la escritura, de “hacer durar una relación que continúa pese a la ruina, que subsiste aunque apenas queden palabras”. “¿Cómo dice yo el que no recuerda…?”, se pregunta la narradora frente a esa mujer que le muestra la casa como si la visitara por primera vez o que es incapaz de decir que ha sufrido un mareo, pero puede traducir al inglés perfectamente un mensaje donde se dice que ella ha sufrido un mareo.Pasajes de un pasado y un presente compartidos que se transforman en ficción frente a un olvido que no puede contradecirlos. Un libro que opone al derrumbe una prosa precisa y vital y la sensibilidad única de una de las mejores escritoras latinoamericanas.In brief, sharply drawn moments, Sylvia Molloy’s Dislocations records the gradual loss of a beloved friend, M.L., a disappearance in ways expected (forgotten names, forgotten moments) and painfully surprising (the reversion to a formal, proper Spanish from their previous shared vernacular). There are occasions of wonder, too—M.L. can no longer find the words to say she is dizzy, but can translate that message from Spanish to English, when it's passed along by a friend.This loss holds Molloy’s sense of herself too—the person she is in relation to M.L. fades as her friend’s memory does. But the writer remains: 'I’m not writing to patch up holes and make people (or myself) think that there’s nothing to see here, but rather to bear witness to unintelligibilities and breaches and silences. That is my continuity, that of the scribe.'How do you keep a friendship intact, when Alzheimer's has stolen the common ground of language, memory, and experience, that unites you?In brief, sharply drawn moments, Sylvia Molloy’s Dislocations records the gradual loss of a beloved friend, M.L., a disappearance in ways expected (forgotten names, forgotten moments) and painfully surprising (the reversion to a formal, proper Spanish from their previous shared vernacular). There are occasions of wonder, too—M.L. can no longer find the words to say she is dizzy, but can translate that message from Spanish to English, when it's passed along by a friend. This loss holds Molloy’s sense of herself too—the person she is in relation to M.L. fades as her friend’s memory does. But the writer remains: 'I’m not writing to patch up holes and make people (or myself) think that there’s nothing to see here, but rather to bear witness to unintelligibilities and breaches and silences. That is my continuity, that of the scribe.'

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El Caribe es un ombligo, profundo, infinito.... susurro. Me aprietan unos músculos firmes, me hace cosquillas la brisa de un aliento fresco. Tiembla San Andrés extasiada. Y tiemblo yo.A mil doscientas millas de tierra firme, resistencia raizal, turistas descuidados, y una historia embarrada sobre la conquista convergen para Victoria, quien vuelve a su hogar desde la Ciudad de México lista para descifrarse a sí misma y al lugar de donde viene.Regresar a san Andrés hace que Victoria Baruq cuestione su relación con la isla. Una foto inquietante de sus tatarabuelos y el raro encuentro con Maa Josephine, una anciana raizal a quien conoce frente a la First Baptiste Church, son algunos de los detonantes que empiezan a revelar detalles de sus orígenes. Su pasado no solo la pone en contacto con la desconocida historia de la isla, sino también con los movimientos sociales que, entre zouk y calipso, celebran la identidad raizal, hacen thinking rundowns, resisten.Esta obra fue ganadora del Premio de Novela Elisa Mújica 2018 (Colombia).Five hundred miles from mainland Colombia, grassroots resistance, sloppy vacationers, and a muddy history of conquest converge for Verónica, returning after living in Mexico City, ready to understand herself and the place she came from.San Andrés rises gently from the Caribbean, part of Colombia but closer to Nicaragua, the largest island in an archipelago claimed by the Spanish, colonized by the Puritans, worked by slaves, and home to Arab traders, migrants from the mainland, and the descendants of everyone who came before.For Victoria – whose origins on the island go back generations, but whose identity is contested by her accent, her skin colour, her years far away – the sunburnt tourists, sewage blooms, sudden storms, and ‘thinking rundowns’ where liberation is plotted and dinner served from a giant communal pot, bring her into vivid, intimate contact with the island she thought she knew, her own history, and the possibility for a real future for herself and San Andrés.

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Women's Prize for Fiction 2023 FinalistThe coming of age story of an award-winning translator, Homesick is about learning to love language in its many forms, healing through words and the promises and perils of empathy and sisterhood.Sisters Amy and Zoe grow up in Oklahoma where they are homeschooled for an unexpected reason: Zoe suffers from debilitating and mysterious seizures, spending her childhood in hospitals as she undergoes surgeries. Meanwhile, Amy flourishes intellectually, showing an innate ability to glean a world beyond the troubles in her home life, exploring that world through languages first. Amy's first love appears in the form of her Russian tutor Sasha, but when she enters university at the age of 15 her life changes drastically and with tragic results."Croft moves quickly between powerful scenes that made me think about my own sisters. I love how the language displays a child's consciousness. A haunting accomplishment." Kali Fajardo-Anstine

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Un juego intertextual que atraviesa la Ciudad de México con el espíritu de Juan Rulfo y Gabriela Cabezón Cámara.José Federico Burgos es un pintor frustrado devenido falsificador, atrapado en un esplendor surrealista y algo alarmante que involucra una obra maestra flamenca, un vagabundo pícaro y dos hermanos mellizos tan intimidantes como ingeniosos. Él bebe demasiado alcohol, deambula por la zona y, cada día que pasa sin lograr copiar la pintura, se acerca un poco más hacia lo que realmente sucede tras los altos muros del jardín.En homenaje a grandes como Juan Rulfo y Luis Barragán, Puertas demasiado pequeñas de Ave Barrera recorre la Guadalajara de fines del siglo XX con la exuberancia y excentricidad de una novela picaresca del siglo XVIII. Una travesura magnífica y lúdica que se adentra en asuntos como la identidad, el arte y la amistad; un retrato audaz, divertido e íntimo del México contemporáneo digno de El Bosco. The Spanish language edition of The Forgery_. A failing artist turned forger, an architectural masterpiece hidden behind high walls, an impish vagabond, and some very resourceful, very intimidating twins—Forgery pays homage to greats like Juan Rulfo and Luis Barragán, traversing late 20th Century Guadalajara with the exuberance and eccentricity of an 18th Century picaresque._An artist races to finish his forgery of a masterpiece while held captive in surreal, menacing splendor.José Federico Burgos is a failed painter turned forger trapped in surreal, an architectural masterpiece hidden behind high walls, an impish vagabond, and some very resourceful, very intimidating twins—Forgery pays homage to greats like Juan Rulfo and Luis Barragán, traversing late 20th Century Guadalajara with the exuberance and eccentricity of an 18th Century picaresque.

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In this brutal, gripping novel, Selva Almada narrates the case of three small-town teenage girls murdered in the 1980's in the interior of Argentina.Three deaths without culprits: 19-year old Andrea Danne, stabbed in her own bed; 15-year old María Luisa Quevedo, raped, strangled, and dumped in wasteland; and 20-year old Sarita Mundín, whose disfigured body was found on a river bank. Almada takes these and other tales of abused women to weave together a dry, straightforward portrait of gender violence that surpasses national borders and speaks to readers' consciousness all over the world.Following the success of The Wind That Lays Waste , internationally acclaimed Argentinian author Selva Almada dives into the heart of this problem with a reported novel, comparable to Truman Capote's In Cold Blood or John Hersey's Hiroshima , in response to the urgent need for attention to the ongoing catastrophe that is femicide.Not a police chronicle, not a thriller, but a contemporary noir novel that lives in the hearts of these women and the men who have abused them. Almada captures the invisible, and with lyrical brutality, blazes a new trail in journalistic fiction.

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An energizing real-time journey through the translation of Never Did the Fire and the process of literary translation.In Catching Fire , the translation of Diamela Eltit's Never Did the Fire unfolds in real time as a conversation between works of art, illuminating both in the process. The problems and pleasures of conveying literature into another language—what happens when you meet a pun? a double entendre?—are met by translator Daniel Hahn's humor, deftness, and deep appreciation for what sets Eltit's work apart, and his evolving understanding of what this particular novel is trying to do.

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“Queer writing at its most exhilarating.” **—Times Literary Supplement **The slums of Buenos Aires, the government, the mafia, the Virgin Mary, corrupt police, sex workers, thieves, drug dealers, and debauchery all combine in this sweeping novel deemed a ‘revelation for contemporary literature’ and ‘pure dynamite’ (Andrés Neuman, author of Traveller of the Century & Talking to Ourselves ).When the Virgin Mary appears to Cleopatra, she renounces sex work and takes charge of the shantytown she lives in, transforming it into a tiny utopia. Ambitious journalist Quity knows she’s found the story of the year when she hears about it, but her life is changed forever once she finds herself irrevocably seduced by the captivating subject of her article. Densely-packed, fast-paced prose, weaving slang and classical references, Slum Virgin refuses to whitewash the reality of the poor and downtrodden, and jumps deftly from tragedy to comedy in a way that has the reader laughing out loud.

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In a poverty-stricken neighbourhood wedged between the city and the sea, a father and son struggle to keep their heads above water. Rather than being discouraged by their difficulties and hardship, their response is to come up with increasingly bizarre and imaginative plans in order to get by. Even when a horrifying, macabre event rocks the neighborhood and the locals start to flee, father and son decide to stay put. What matters is staying together.This is a bold, poignant text that juxtaposes a very tender father-son relationship with the son's sexual liberation and a brutal depiction of homophobic violence. Giuseppe Caputo uses delicate – yet electrifying – lyricism and imagery to weave a tale that balances desire, violence, discrimination, love, eroticism and defiance, while evoking with surreal humor the social marginalization of the protagonists as they struggle to keep afloat in a society where there are no safety nets.Like a brightly-lit theme park with its house of horrors, reminiscent in parts of James Baldwin’s Another Country or Virginie Despentes’ Vernon Subutex trilogy, An Orphan World defies the reader to look away, and the reward is an exhilarating carnival ride filled with beauty, compassion and loss.

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A warm, witty, passionate cry for living, vital, indigenous languages and the people who speak them. Despite the more than 200 Indigenous languages spoken in Mexico, including 63 that are officially recognized and celebrated by the Mexican government, linguistic diversity is and has been under attack in a larger culture that says bilingual is good when it means Spanish and English, but bad when it means Nahuatl and Spanish. Yasnaya Aguilar, a linguist and native Mixe speaker, asks what is lost, for everyone, when the contradictions inherent in Mexico's relationship with its many Indigenous languages mean official protection and actual contempt at worst, and ignorance at best.What does it mean to have a prize for Indigenous literature when different Indigenous languages are as far from each other as they are from Japanese? What impact does considering Tzotzil cultural heritage have on our idea of it, when it is still being used, and refreshed, and changed (like every other language) t

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After a loss, a year in the country: four seasons to transform a garden and a self. 'In the city the notion of the hours of the day, of the passage of time, is lost. In the countryside that is impossible,' our narrator tells us. In this remote house and garden, time is almost palpable; it goes by without haste and brings into sharp relief even the tiniest details: insects, the sound of the rain, a falling leaf, the smell of damp earth. Past and present are equally weighted and visible here, revealing themselves slowly with every season and turn of the spade.So a year unfolds. A garden takes shape as his connection deepens to this place, becoming a shelter from everyone and everything, perhaps even from himself. We see the ants devouring the chard, we hear the tales his grandmother told, perhaps real, perhaps taken from a movie, and we learn about his great love, Ciro. The humid sheets in the country, the carefully renovated apartment in the city and the painful, inexplicable break-

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A fractured account of family abuse, secrets, and the cost of pursuing the truth. In the most private spaces, the most intimate betrayals occur. Belén López Peiró places us squarely in the tenderest of timesyoung teenagehood, in a home about to be ruptured by sexual assault. In this home, for this young woman, your assailant is your uncle, and also a police commissioner. The people who shelter you will reject you: your mother is his sister-in-law, your beloved aunt his wife and your cousin and friend his daughter. And the truth of what happened will depend entirely on you.Why Did You Come Back Every Summer is a document of uncertainty, self-doubt, and the appearance of progress when there is none. A chorus of voices interrupt and overtake each other; interviews and reports are filed. The truth will be heard but how and by whom? Loyalties will shift and slip. And certain questions have no easy answers. What do you owe to your family? What do they owe you? How far will you go to get yo

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Náufragos, origami, posesión y ciencia: estos cuentos encarnan el punto de encuentro entre los horrores contemporáneos y los terrores antiguos.Seis relatos de una belleza oscura que laten con temáticas perturbadoras: la legitimidad de la venganza, el incesto como medio de supervivencia, brujería indígena versus tradición japonesa, el cuerpo como la víctima fatal que habitamos. Los cuentos de Rivero perforan al lector como una herida, ofreciendo también posibilidades de amor, justicia y esperanza. Narrados con un lirismo frágil y feroz, los cuentos de Tierra fresca de su tumba punzan los abismos del alma humana, y a la vez reforman los límites del gótico para incorporar ritos precolombinos, leyendas, ciencia ficción y erotismo.Shipwrecks, dive bars, possession, and science—this is where contemporary horrors and ancient terrors meet.In Fresh Dirt from the Grave , a hillside is “an emerald saddle teeming with evil and beauty.” It is this collision of harshness and tenderness that animates Giovanna Rivero’s short stories, where no degree of darkness (buried bodies, lost children, wild paroxysms of violence) can take away from the gentleness she shows all violated creatures. A mad aunt haunts her family, two Bolivian children are left on the outskirts of a Metis reservation outside Winnipeg, a widow teaches origami in a women’s prison and murders, housefires, and poisonings abound, but so does the persistent bravery of people trying to forge ahead in the face of the world. They are offered cruelty, often, indifference at best, and yet they keep going. Rivero has reworked the boundaries of the gothic to engage with pre-Columbian ritual, folk tales, sci-fi and eroticism, and found in the wound their humanity and the possibility of hope.

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In seven interconnected short stories, the Guatemalan countryside is ever-present: a place of timeless peace, and the site of sudden violence. Don Henrik, a good man struck time and again by misfortune, confronts the crude realities of farming life, family obligation, and the intrusions of merciless entrepreneurs, hitmen, drug dealers, and fallen angels, all wanting their piece of the pie. Told with precision and a stark beauty, Trout, Belly Up is a beguiling, disturbing ensemble of moments set in the heart of a rural landscape in a country where brutality is never far from the surface.

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A mother and son inhabit an isolated and increasingly dangerous private world.The third and final installment of Ariana Harwicz's "Involuntary Trilogy" finds us on familiar, disquieting ground. Under the spell of a mother’s madness, the French countryside transforms into a dreamscape of interconnected imagery: animals, desire, the functions of the body. Most troublingly: the comfort of a teenage son. Scorning the bourgeois mores and conventionality of their small town, she withdraws him from school and the two embark on ever more antisocial and dangerous behavior. Harwicz is at her best here, building an interior world so robust, and so grotesque, that it eclipses our shared reality. Savage, and savagely funny, she leaves us singed, if not scorched.

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Literary icon Julia Alvarez, the international bestselling author ofIn the Time of the Butterflies , returns with an inventive and emotional novel about storytelling that will be an instant classic.Alma Cruz, the celebrated writer at the heart ofThe Cemetery of Untold Stories , doesn't want to end up like her friend, a novelist who fought so long and hard to finish a book that it threatened her sanity. So when Alma inherits a small plot of land in the Dominican Republic, her homeland, she has the beautiful idea of turning it into a place to bury her untold stories literally. She creates a graveyard for the manuscript drafts and revisions, and the characters whose lives she tried and failed to bring to life and who still haunt her.Alma wants her characters to rest in peace. But they have other ideas, and the cemetery becomes a mysterious sanctuary for their true narratives. Filomena, a local woman hired as the groundskeeper, becomes a sympathetic listener as Alma's characters unspool t

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A lyrical celebration of storytelling, of childhood, and of the transformative power of music.Tracing a circular course that echoes Bach’s Goldberg Variations , Luis Sagasti’s second book to appear in English takes the guise of a musical scheherazade, recounting story after story, vibrating to celestial harmonies. From the music born of the sun to the music sent into space on the Voyager mission, from Rothko to rock music, from the composers of the concentration camps to a weeping room for Argentinian conscripts in the Falklands, A Musical Offering traverses the shifting sands of fiction and history.

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This novel focuses on a group of characters who are all in different ways endeavouring to take control of their fate. Their desire to lead a genuine existence forces them to confront difficult decisions, and to break out of comfortable routines.Karl and Marina have been together for ten years and have a young son, Simón. Karl is a German-born oboist at Argentina’s national orchestra, and Marina is a meteorologist. On a field trip, she meets fellow researcher Zárate, and what might have been just a fling starts to erode the foundations of her marriage. Then there is Amer, a dynamic and successful taxidermist. At a group therapy session for smokers, Amer falls for the younger Clara. While the relationship between Karl and Marina disintegrates, the love story between Amer and Clara is just beginning – or is it already at an end? One of Argentina’s leading contemporary writers, Jorge Consiglio portrays the inner worlds of these characters through the minute details of their everyday lives, laying bare their strivings and their frustrations with a wry gaze, and seeking in this close-up texture a deeper truth.

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Lucía and Pablo are Colombian immigrants who’ve built their lives together in the US yet maintain conflicting attitudes towards their homeland and the extent to which it defines their identity. After undergoing fertility treatment, Pablo finds himself excluded from raising their twins, and the new family situation seems to question the very nature of their relationship and of who they believed they were. In search of respite and time to reflect, Lucía takes the kids to her parents’ apartment in Miami. Meanwhile, Pablo learns he is suffering from a syndrome known as ‘Holiday Heart’. But is this just a break, or is it really the final days of their marriage?

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Winner PEN Translates Award (UK)Recovering from an unspecified accident, the narrator of Loop finds herself in waiting rooms of different kinds: airport departure lounges, doctors’ surgeries, and above all at home, awaiting the return of her boyfriend, who has travelled to Spain following the death of his mother. Loop is a love story told from the perspective of a contemporary Penelope who, instead of weaving and unravelling her shroud, writes and erases her thoughts in her ‘ideal’ notebook. At once, funny and thought-provoking, her thoughts range from her stationery preferences to the different scales on which life is lived, while a cast of unlikely characters cross the page, from Proust to a mysterious dwarf, from a dreamy cat to David Bowie singing ‘Wild is the Wind’. Written in an assured, irreverent style, Loop is the journal of an absence, one in which the most minute or whimsical observations open up universes. Combining aphoristic fragments with introspective narrative, and evoking Italo Calvino and Fernando Pessoa in its playfulness and wry humour, this original reflection on relationships, solitude and the purpose of writing offers a glimpse of contemporary life in Mexico City, while asking what it really means to find our place in the world.

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Life after crime from the International Booker-shortlisted author of Elena KnowsFifteen years after killing her husband's lover, Inés is fresh out of prison and trying to put together a new life. Her old friend Manca is out now too, and they've started a business FFF, or Females, Fumigation, and Flies dedicated to pest control and private investigation, by women, for women. But Señora Bonar, one of their clients, wants Inés to do more than kill bugs she wants her expertise, and her criminal past, to help her kill her husband's lover, too.Crimes against women versus crimes by women; culpability, fallibility, and our responsibilities to each otherthis is Piñeiro at her wry, earthy best, alive to all the ways we shape ourselves to be understandable, to be understood, by family and love and other hostile forces.

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A junkie looking for one last fix in a town full of ghosts . This is a ghost story. A junkie has gone to El Zapotal to die to rent a room in this crumbling backwater, melt into one last fix, and not come back. For someone so ready to no longer be alive, though, he can't stop clinging to the past. His old dog, Kid, who he abandoned. His love, Valerie, who he introduced to drugs. There's no such thing as a good memory. El Zapotal doesn't want him either. The people aren't welcoming, the streets are empty except for strays, and he's having trouble pacing his supply. As the drugs run out, the line between what's real and what's not blurs to the point of illegibility, and we're left wandering a tenderly described hinterland of despair, hunger, and regret. García Elizondo has given us an homage to Pedro Páramo , a descent for the ages, a long goodbye with no clear line between the living and dead.

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"Sergio Chejfec is an admirable writer." —Patti Smith“Could anyone possibly believe that writing doesn’t exist? It would be like denying the existence of rain.”The perfect green notebook forms the basis for Sergio Chejfec’s work, collecting writing, and allowing it to exist in a state of permanent possibility, or, as he says, “The written word is also capable of waiting for the next opportunity to appear and to continue to reveal itself by and for itself.” This same notebook is also the jumping off point for this essay, which considers the dimensions of the act of writing (legibility, annotation, facsimile, inscription, typewriter versus word processor versus pen) as a way of thinking, as a record of relative degrees of permanence, and as a performance. From Kafka through Borges, Nabokov, Levrero, Walser, the implications of how we write take on meaning as well worth considering as what we write. This is a love letter to the act of writing as practice, bearing down on all the ways it happens (cleaning typewriter keys, the inevitable drying out of the bottle of wite-out, the difference between Word Perfect and Word) to open up all the ways in which “when we express our thought, it changes.”

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Un sensible homenaje a la narración, la infancia y el poder transformador de la música.El segundo libro traducido al inglés de Luis Sagasti emprende un recorrido circular que hace eco de las Variaciones Goldberg de Bach para narrarnos historia tras historia, al estilo de Scheherazade, entretejidas de manera sutil y sorprendente, creando un tapiz que vibra al son de armonías celestiales. Sagasti nos guía en un viaje que va desde la música nacida bajo el sol a la música enviada al espacio en la misión Voyager. Desde Rothko hasta el rock, desde aquellos compositores en los campos de concentración hasta una habitación donde se escuchan los lamentos de los reclutas argentinos en Malvinas. Un delicado homenaje a la narración, la infancia y el poder transformador de la música. The Spanish language edition of A Musical Offering_. Tracing a circular course that echoes Bach’s_ Goldberg Variations_, Luis Sagasti’s second book to appear in English takes the guise of a musical scheherazade, recounting story after story, vibrating to celestial harmonies. From the music born of the sun to the music sent into space on the Voyager mission, from Rothko to rock music, from the composers of the concentration camps to a weeping room for Argentinian conscripts in the Falklands,_ A Musical Offering_traverses the shifting sands of fiction and history._A lyrical celebration of storytelling, of childhood, and of the transformative power of music.Tracing a circular course that echoes Bach’s Goldberg Variations , Luis Sagasti’s second book to appear in English takes the guise of a musical scheherazade, recounting story after story, vibrating to celestial harmonies. From the music born of the sun to the music sent into space on the Voyager mission, from Rothko to rock music, from the composers of the concentration camps to a weeping room for Argentinian conscripts in the Falklands, A Musical Offering traverses the shifting sands of fiction and history.

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Byobu reveals a rich inner world, one driven by its meticulous attention to our rich outer one."a story’s existence, even if not well defined or well assigned, even if only in its formative stage, just barely latent, emits vague but urgent emanations."Byobu's every interaction trembles with possibility and faint menace. A crack in the walls of his house, marring it forever, means he must burn it down. A stoplight asks what the value of obedience is, what hopefulness it contains, and what insensible anarchy it defies. In brief episodes, aphorisms, and moments of spiritual turbulence and gentle scrutiny, reside a wealth of habits, worries, curiosities, pleasures, peculiarities, and efforts to understand.Representative of the modesty and complexity of Ida Vitale’s poetic universe, Byobu flushes the world with meaning and playfully offers another way of inhabiting the every day.

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Sex, lies, and scientific history collide in 1993 Havana.It was as if we’d reached the minimum critical point of a mathematical curve. Imagine a parabola. Zero point down, at the bottom of an abyss. That’s how low we sank.The year is 1993. Cuba is at the height of the Special Period, a widespread economic crisis following the collapse of the Soviet bloc.For Julia, a mathematics lecturer who hates teaching, this is Year Zero: the lowest possible point. But a way out appears: the search for a missing document that will prove the telephone was invented in Havana, secure her reputation, and give Cuba a purpose once more. What begins as an investigation into scientific history becomes a tangle of sex, friendship, family legacies, and the intricacies of how people find ways to survive in a country at its lowest ebb.

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“This slim and vital novel is a tour de force; it will floor you, and lift you right the way up—I adored it.” —Claire-Louise Bennett , author of PONDDuring the summer of 2014, on one of the stormiest days on record to hit the coast of Uruguay, 31-year old Alejandro, lifeguard and younger brother of our protagonist and narrator, dies after being struck by lightning. This marks the opening of a novel that combines memoir and fiction, unveiling an intimate exploration of the brotherly bond, while laying bare the effects that death can have on those closest to us and also on ourselves.It’s always the happiest and most talented who die young. People who die young are always the happiest of all…Can grief be put into words? Can we truly rationalise death to the point of embracing it? Older Brother is the vehicle Mella uses to tackle these fundamental questions, playing with tenses and narrating in the future, as if all calamities described are yet to unfold. In a style reminiscent of Bret Easton Ellis and J.D. Salinger, recalling in parts Cronenberg’s or Burgess’s examination of violence and society, Mella takes us with him in this dizzying journey right into the centre of his own neurosis and obsessions, where fatality is skilfully used to progressively draw the reader further in.

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This assured debut novel from acclaimed Chilean author Andrea Jeftanovic explores the devastating psychological effects of the conflict in the Balkans on a family who flee to South America to build a new life. It is told from the perspective of the young Tamara, as she tries to make sense of growing up haunted by a distant conflict. Yet the ghosts of war re-emerge in their new land – which has its own traumatic past – to tear the family apart.Staging scenes from childhood as if the characters were rehearsing for a play, the novel uses all the imaginary resources of theatre director, set paint- er and lighting designer to pose the question: how can Tamara salvage an identity as an adult from the ruins of memory, and rediscover the ability to love? With themes that echo Elif Shafak’s The Bastard of Istanbul , a sensitive narrator recalling Eimear McBride’s A Girl is a Half-Formed Thing , and a focus on the body in the style of Elfriede Jelinek, this is an artfully construct- ed, widely praised work from one of the most exciting novelists at work in Latin America today.

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"This is one beautiful book."—Mia CoutoKnown and celebrated in Brazil and abroad for his novel Resistance , Julián Fuks returns to his auto-fictional alter ego Sebastián in a narrative alternating between the writer’s conversations with refugees occupying a building in downtown São Paulo, his father’s sickness, and his wife’s pregnancy. With impeccable prose, the author builds associations that go beyond the obvious, not only between glimpsing a life's beginning and end, but also between the building’s occupation and his wife's pregnancy — showcasing the various forms of occupation while exposing the frailty of life, the risk of solitude and the brutality of not belonging.

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Five hundred miles from mainland Colombia, grassroots resistance, sloppy vacationers, and a muddy history of conquest converge for Verónica, returning after living in Mexico City, ready to understand herself and the place she came from.San Andrés rises gently from the Caribbean, part of Colombia but closer to Nicaragua, the largest island in an archipelago claimed by the Spanish, colonized by the Puritans, worked by slaves, and home to Arab traders, migrants from the mainland, and the descendants of everyone who came before.For Victoria – whose origins on the island go back generations, but whose identity is contested by her accent, her skin colour, her years far away – the sunburnt tourists, sewage blooms, sudden storms, and ‘thinking rundowns’ where liberation is plotted and dinner served from a giant communal pot, bring her into vivid, intimate contact with the island she thought she knew, her own history, and the possibility for a real future for herself and San Andrés.

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Three men go out fishing, returning to a favourite spot on the river despite their memories of a terrible accident there years earlier. As a long, sultry day passes, they drink and cook and talk and dance, and try to overcome the ghosts of their past. But they are outsiders, and this intimate, peculiar moment also puts them at odds with the inhabitants of this watery universe, both human and otherwise. The forest presses close, and violence seems inevitable, but can another tragedy be avoided?Rippling across time like the river that runs through it, Selva Almada’s latest novel is the finest expression yet of her compelling style and singular vision of rural Argentina.This masterful novel reveals once again Selva Almada's unique voice and extraordinary sensitivity, allowing its characters to shine and express in action what the depths of their souls harbour.One of the Best Books of 2020 in Clarín and La NaciónShortlisted for the Mario Vargas Llosa Novel Prize

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An artist races to finish his forgery of a masterpiece while held captive in surreal, menacing splendor.José Federico Burgos is a failed painter turned forger trapped in surreal, an architectural masterpiece hidden behind high walls, an impish vagabond, and some very resourceful, very intimidating twins—Forgery pays homage to greats like Juan Rulfo and Luis Barragán, traversing late 20th Century Guadalajara with the exuberance and eccentricity of an 18th Century picaresque.

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