{"title":"Latin America \u0026 the Caribbean","description":"","products":[{"product_id":"a-place-where-the-sea-remembers-2","title":"A Place Where the Sea Remembers","description":"\u003ch5 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch4\u003eThe hopes, triumphs, failures, and shortcomings of the novel’s enchanting array of characters create a graceful picture of life that is both a universal portrait and an insider’s look at life in Latin America.\u003c\/h4\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707403470,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/A_Place_Where_the_Sea_Remembers.jpg?v=1511890431"},{"product_id":"among-strange-victims","title":"Among Strange Victims","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Daniel Saldaña París\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 7, 2017 • 5.5 x 8.25 • 320 pages • 978-1-56689-430-2\u003c\/h5\u003e\n\u003ch4\u003e\n\u003cem\u003eSlackers\u003c\/em\u003e meets \u003cem\u003eSavage Detectives\u003c\/em\u003e in this polyphonic ode to the pleasures of not measuring up.\u003c\/h4\u003e\n\u003cp\u003eRodrigo likes his vacant lot, its resident chicken, and being left alone. But when passivity finds him accidentally married to Cecilia, he trades Mexico City for the sun-bleached desolation of his hometown and domestic life with Cecilia for the debauched company of a poet, a philosopher, and Micaela, whose allure includes the promise of time travel. Earthy, playful, and sly, \u003cem\u003eAmong Strange Victims \u003c\/em\u003eis a psychedelic ode to the pleasures of not measuring up.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDaniel Saldaña París (born Mexico City, 1984) is an essayist, poet, and novelist whose work has been translated into English, French, and Swedish and anthologized, most recently in \u003cem\u003eMexico20: New Voices, Old Traditions\u003c\/em\u003e, published in the United Kingdom by Pushkin Press. \u003cem\u003eAmong Strange Victims\u003c\/em\u003e is his first novel to appear in the United States. He lives in Montreal, Quebec.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Great fun are the jabs at academia, Mexico City and the dusty town where the action, or inaction, moves after Rodrigo meets Marcelo, a Spanish cretin with a Ph.D. in aesthetics. These flameless flâneurs humph and hump, personifying urban malaise.” \u003cstrong\u003e\u003cem\u003e—New York Times Sunday Book Review\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Full of odd twists and surprises. Among the high points are Saldaña París’ exasperated but affectionate paeans to ‘the immense, beautiful city’ that is Mexico’s capital. Though a study of slothfulness and its discontents, a welcome book on which the author has clearly expended energy.” \u003cstrong\u003e\u003cem\u003e—Kirkus\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“The novel takes some bizarre turns as Marcelo leads Rodrigo into experiments involving drugs, tequila, hypnosis and more, all in the name of transformation. If the young man’s notion of radical change is to take part in his life rather than observe it from afar, he’s off to a good start.” \u003cstrong\u003e\u003cem\u003e—New York Times\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Saldaña París’s first novel to be translated Stateside is a leisurely story of slacking off that’s nicely conveyed in a sharp, cynical tone. . . . Read this messy, shaggy picaresque for its ample page-by-page pleasures, which include devilishly clever syntax, a charming tendency to digress, and satisfying flashes of Rodrigo and Marcelo getting their act together.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“For all Saldaña París’ sharp wit, \u003cem\u003eAmong Strange Victims\u003c\/em\u003e is about waking up to the world’s brighter possibilities.” \u003cstrong\u003e—NPR\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“There is something uncannily Pitolean about this novel. And that is a very good thing.” \u003cem\u003e\u003cstrong\u003e—Three Percent \u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Brief, brilliantly written, and kissed by a sense of the absurd. . . . Like a much lazier, Mexico City version of Dostoevsky’s \u003cem\u003eUnderground Man\u003c\/em\u003e.” \u003cstrong\u003e\u003cem\u003e—Fresh Air\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Partnership is important, says this young, slacker, thirtysomething Mexican writer, even if it’s only with a hen in a vacant lot.” \u003cstrong\u003e\u003cem\u003e—The Rumpus\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“It’s a novel that sneaks up on you in the best possible way.” \u003cstrong\u003e\u003cem\u003e—Vol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Daniel Saldaña París’s \u003cem\u003eAmong Strange Victims . . . \u003c\/em\u003eis, despite the questions surrounding the Latin American canon, a natural successor in the Latin American oeuvre. Saldaña París eases forward from the Crack and McOndo movements, yet still evokes the hues of Julio Cortázar’s Hopscotch. But, perhaps most crucially, \u003cem\u003eAmong Strange Victims\u003c\/em\u003e still wonders what this Latin American-ness could mean.” \u003cstrong\u003e\u003cem\u003e—Full Stop\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“The real life absurdities surrounding Trump’s visit are definitely stranger than the fictional absurdities Rodrigo faces, though I can’t help but wonder if somehow these narratives are cosmically linked. Daniel Saldaña París’ pulse on the Mexican psyche feels that precise, that honest, that timely.” \u003cstrong\u003e\u003cem\u003e—Ploughshares\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“The novel teases and revises questions about how to live a meaningful life with agency by turning them into a thought experiment that Saldana París handles with formal invention and a Millennial twist.” \u003cstrong\u003e\u003cem\u003e—Words Without Borders\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Daniel Saldaña Paris’ first novel to be translated into English is an expertly composed, leisurely read that sucks you in but never spits you out. . . . This book is a must-read.” \u003cstrong\u003e\u003cem\u003e—Largehearted Boy\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Although its stylized narrative can be an acquired taste, \u003cem\u003eAmong Strange Victims\u003c\/em\u003e is deceptively affecting.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“It’s a novel that comes at you from odd angles, making a memorable impression as it goes.”\u003cem\u003e \u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“In an easygoing, oddly entrancing style, París presents a meandering plot . . . but the events of the narrative pale in comparison to the surprising pleasure of the thoroughly offbeat prose. . . . Par\u003cspan\u003eí\u003c\/span\u003es has mastered the art of spinning an outlandish, entertaining tale.” \u003cstrong\u003e\u003cem\u003e—Booklist\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“It is impossible to read \u003cem\u003eAmong Strange Victims\u003c\/em\u003e without being charmed by its wit and disarmed by its fierce and mysterious languor. In this novel, Daniel Saldaña París asks how one should cope with the impossible burden of living your own life—and gives a graceful riddle of an answer that will linger with you long after the book is done.” \u003cstrong\u003e—Alexandra Kleeman\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Translator Christina MacSweeney has done an excellent job bringing the intelligent vitality of Paris’s prose into English. . . . What has happened to the life of the artist, \u003cem\u003eAmong Strange Victims\u003c\/em\u003e asks. Why do we so often build critical distances between ourselves and our lives? And how can we bridge those gaps?” —\u003cem\u003e\u003cstrong\u003eElectric Literature\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Saldaña París is a Montreal-based poet, essayist, and novelist, born in Mexico City, and, as this darkly humorous and thoughtful novel—both in the sense of being contemplative and packed full of an onrush of thoughts—proves, is a welcome infusion of vitality into North American literature.” \u003cstrong\u003e\u003cem\u003e—Bookslut\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Daniel Saldaña París’s \u003cem\u003eAmong Strange Victims,\u003c\/em\u003e translated by Christina MacSweeney, immediately pulls the reader into its universe. It does so with such thorough and seamless skill that the reader becomes a victim of this strange, off-kilter world.” \u003cem\u003e\u003cstrong\u003e—Cleaver Magazine\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eAmong Strange Victims\u003c\/em\u003e is] an impressive work by a talented young writer.” \u003cem\u003e\u003cstrong\u003e—Largehearted Boy\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“As I read [\u003cem\u003eAmong Strange Victims\u003c\/em\u003e],\u003cem\u003e \u003c\/em\u003eI felt I was witnessing a great performance. It reminded me a little of young Mozart showing off at the emperor’s golden harpsichord, giggling and improvising variations on Salieri’s welcome march, startling all the wigged and powdered Viennese stiffs. And I sensed something desperate and inflamed in the writing too, as though the author assumed all along that nobody would ever read his book. That’s probably what I like most about it—the cocky, indulgent, nihilistic virtuosity.” \u003cem\u003e\u003cstrong\u003e—BOMB\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Quirky and absurd, it’s a funny, shambling look at the benefits (and drawbacks) of living life at your own lazy pace.” \u003cem\u003e\u003cstrong\u003e—Men’s Journal\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“The English debut by the young and talented Daniel Saldaña Paris, \u003cem\u003eAmong Strange Victims\u003c\/em\u003e is the definitive millennial existentialist novel of Mexico City.” \u003cstrong\u003e\u003cem\u003e—The Culture Trip\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Saldaña París writes with a gifted and confident prose that is as much the star of this singular novel as its unforgettable characters and delighting plot. This young Mexican writer (and poet, too) is surely one to watch, and if Among Strange Victims is but a harbinger of what’s to come, then Saldaña París may well have a long, fruitful, and fantastic career ahead of himself.” \u003cstrong\u003e—Jeremy Garber, \u003cem\u003ePowell’s Books\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Critics have drawn comparisons between París’s latest novel (his first to be translated in the United States) and the work of his blockbuster predecessor, Roberto Bolaño.” \u003cstrong\u003e\u003cem\u003e—Brooklyn Magazine\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Daniel Saldaña París, following in the tradition of di Lampedusa, shows that non-writers—that is to say, those who don’t exclusively cultivate what’s known as a literary life—are the ones who make the best books.” \u003cstrong\u003e—Mario Bellatin\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I rewrote the first forty pages of \u003cem\u003eAmong Strange Victims\u003c\/em\u003e several times over two years before finding the right tone for it. It started being a very serious, philosophical novel, but with each new version it became more and more humorous.” \u003cem\u003e\u003cstrong\u003e—The Quarterly Conversation\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707406926,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Among_Strange_Victims.jpg?v=1513018923"},{"product_id":"bird-at-my-window","title":"Bird at My Window","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Rosa Guy\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 5, 2001 • 5.5 x 8.5 • 220 pages • 978-1-56689-111-0\u003c\/h5\u003e\n\u003ch4\u003eThis vibrant narrative dissects the complexity of white-on-black as well as black-on-black racism.\u003c\/h4\u003e\n\u003cp\u003eRosa Guy’s powerful first novel follows Wade Williams, a brilliant young black man who wakes up in a mental hospital and is told he has assaulted his sister. Throughout Guy’s engrossing story, Wade retraces his steps to identify the circumstances that brought him to commit this unthinkable act, and reveals the rich complexity of mid-twentieth century Harlem and its mothers, sons, and daughters, whose aspirations prevail and perish within both white and black America. A compelling personal story and a razor-sharp cultural critique, \u003cem\u003eBird at My Window\u003c\/em\u003e is the third title in Coffee House Press’s acclaimed Black Arts Movement Series. \u003cbr\u003e\u003cbr\u003eThe Black Arts Movement Series is funded by the National Endowment for the Arts, Lila Wallace-Reader’s Digest Fund, The Medtronic Foundation, Laura Jane Musser Fund, and Star Tribune Foundation, in cooperation with the Givens Foundation for African American Literature.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBorn in Trinidad, Rosa Guy (1922-2012) was the author of fifteen novels, including \u003cem\u003eBird at My Window, The Friends,\u003c\/em\u003e and \u003cem\u003eA Measure of Time.\u003c\/em\u003e She was a co-founder of both the Harlem Writer’s Guild and the Black Arts Movement. Guy received the Coretta Scott King Award, the American Library Association’s Best Book Award, and the Phyllis Wheatley Award, given by the Harlem Book Fair. Guy lived in New York City.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“This book was welcomed when it was first published in 1966. Its brave examination of a loving, yet painful, relationship between a Black mother and her son is even more important today. Rosa Guy is a fine writer and she continually gives us new issues to contemplate. Welcome \u003cem\u003eBird at My Window.\u003c\/em\u003e” \u003cstrong\u003e—Maya Angelou\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707414606,"sku":"","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Bird_at_My_Window.jpg?v=1515029710"},{"product_id":"camanchaca","title":"Camanchaca","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Diego Zúñiga, translated by Megan McDowell\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMarch 7, 2017 • 5 x 7.75 • 128 Pages • 978-1-56689-460-9\u003c\/h5\u003e\n\u003ch4\u003eOn a long, near-silent drive with his father, a young man surveys the “worn-out puzzle” of his broken family.\u003c\/h4\u003e\n\u003cp\u003eA long drive across Chile’s Atacama desert, traversing “the worn-out puzzle” of a broken family—a young man’s corrosive intimacy with his mother, the obtrusive cheer of his absentee father, his uncle’s unexplained death. \u003cem\u003eCamanchaca\u003c\/em\u003e is a low fog pushing in from the sea, its moisture sustaining near-barren landscape. Sometimes, the silences are what bind us.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eDiego Zúñiga (born 1987) is a Chilean author and journalist. He is the author of two novels and the recipient of the Juegos Literarios Gabriela Mistral and the Chilean National Book and Reading Council Award. He lives in Santiago de Chile.\u003cbr\u003e\u003cbr\u003eMegan McDowell is a Spanish language literary translator from Kentucky. Her work includes books by Alejandro Zambra, Arturo Fontaine, Lina Meruane, Mariana Enriquez, Álvaro Bisama, and Juan Emar. Her translations have been published in the \u003cem\u003eNew Yorker,\u003c\/em\u003e the \u003cem\u003eParis Review, Tin House, McSweeney’s, Words Without Borders, Mandorla,\u003c\/em\u003e and \u003cem\u003eVice,\u003c\/em\u003e among others. She lives in Santiago, Chile.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“This arresting and deeply affecting read, despite its short length, packs a punch.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Deftly written, there is much to admire on the page.” \u003cstrong\u003e\u003cem\u003e—Fanzine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s precisely this coolly observant language, deepening with the story, that lets us register the buried despair.” \u003cstrong\u003e\u003cem\u003e—Library Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A smart, straightforward narrative that reveals the varied mood a shared experience can evoke.” \u003cstrong\u003e\u003cem\u003e—Kirkus Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The simple, elegant narrative braiding—a paternal recto, a maternal verso—serves as both metaphor for a boy who is of two minds about everything and as a driveshaft, propelling the reader to a too-soon ending in a state of horror bordering on awe.” \u003cstrong\u003e\u003cem\u003e—The Rumpus\u003c\/em\u003e, “HORN!” review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eCamanchaca\u003c\/em\u003e has one of the strongest novel openings I’ve read in years, a knockout vignette that disarms the reader with a few beats of unnecessarily specific detail, and then seamlessly shifts into fast and steady motion while glancing across a violent mystery all in just a quarter of a page.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eElectric Literature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This slim book promises emotional and intellectual challenges for the intrepid reader.” \u003cstrong\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eBooklist Online\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Among this novel’s many merits (which go far beyond the stylistic), Zúñiga has achieved something more: he has depicted, with astonishing perfection, the mediocrity of the Chilean middle class, its simplicity and its emptiness: characters who barely communicate and pass their time watching TV, sleeping, and eating sandwiches wherever they may be; half-brothers who hardly know each other and look at each other with jealousy; families whose only epic, at the end of the day, is an attempt to buy brand-name clothes and take care of a dying dog.” \u003cstrong\u003e\u003cem\u003e—\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The novel is episodic, swinging from the past to the present, with no bit lasting longer than a page. The effect is poetic, and Zúñiga’s bare sentences also resemble the Atacama.” \u003cem\u003e\u003cstrong\u003e—Colorado Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eCamanchaca\u003c\/em\u003e is a riddle, a mind game, sometimes maddening but always compelling.” \u003cstrong\u003e—\u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The tidy parcels pack jolts of emotion as Zúñiga discloses the foundation of the burdens the young narrator has carried through his life, every page another piece of the sad, damaged puzzle. As powerful as it is spare, \u003cem\u003eCamanchaca\u003c\/em\u003e is a raw trip through an emotional wasteland.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eShelf Awareness\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The simple, straightforward prose flies across the dry pages exactly as if Zúñiga were driving you across the desert himself.” \u003cem\u003e\u003cstrong\u003e—\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eAtticus Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eCamanchaca\u003c\/em\u003e . . . succeeds at combining the particularity of its setting with scenarios that feel almost classical: a murdered brother and the perversion of the mother-son relationship. But it also dramatizes the struggle to understand the previous generation, whether the truth sought is that of family or country.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eBOMB\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“An unexpected voice, a new landscape—a sober, risky, unsettling and surprising book.” \u003cstrong\u003e—Alejandro Zambra\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The amiable placidity of \u003cem\u003eCamanchaca\u003c\/em\u003e’s young narrator attests to a safeguarding remoteness that cannot quite suppress a terrible mounting compulsion to confront his family’s past and be released from its burden of secrets. Diligent but lacking the capacity to form judgments, distressed yet detached, I don’t think I’ve come across a more evocative depiction of the painstaking transition from adolescence into the adult world.” \u003cstrong\u003e—Claire-Louise Bennett\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Diego Zúñiga is the author of an extraordinary first novel. \u003cem\u003eCamanchaca \u003c\/em\u003eis written with austerity and a laconic and fragmented style that is like the shreds through which we are able to catch glimpses of the landscape through the fog.” \u003cstrong\u003e—Patricio Pron\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Nothing is stated outright in \u003cem\u003eCamanchaca,\u003c\/em\u003e everything is sounded out, intuited, like silhouettes or protrusions whose contours jut out just barely through cloth. . . . [Zúñiga] veils an entire way of life, a kind of underwater ‘ethos’ in which there nests an invisible substructure of violence, abuse, and desolation.” \u003cstrong\u003e—Pablo Torche, \u003cem\u003eLetras en línea\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A sparse, innovative and heartrending study of a broken family. . . . A debut novella that is quite stunning in its compact emotional heft.” \u003cem\u003e\u003cstrong\u003e—\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003eBrazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A thoughtful, even meditative, story of a young man for whom the problems of his parents, the problems of the adult world that he is approaching, are still just beyond his understanding.” \u003cstrong\u003e—Josh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The past converges with the present in this startling debut by Diego Zúñiga. A young man, uncertain in life, penetrates his family’s dysfunctional past during a road trip across the Chilean desert. Taut and fragmented, brilliant and brave, \u003cem\u003eCamanchaca\u003c\/em\u003e perfectly captures the difficult transition from young man to adult. A small diamond of a novel that once again proves literature can break your heart and infuse the spirit at the same time.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cstrong\u003eMark Haber, Brazos Bookstore\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707419662,"sku":"","price":15.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Zuniga_new-cover_WEB.jpg?v=1499210594"},{"product_id":"entrepot","title":"Entrepôt","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Mark McMorris\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 2, 2010 • 6 x 9 • 90 pages • 978-1-56689-236-0\u003c\/h5\u003e\n\u003ch4\u003eMissives from the entrepôt—or port city—where civilization trades in art, love, and war.\u003c\/h4\u003e\n\u003cp\u003eWithin the intimate, enlightened, and dazzling linguistic flights of these poem-letters, Mark McMorris offers keen observations of war and warriors, history and art—engaging a world that has experienced “continuous combat since Helen gave Paris a flower \/ at least since the Bronze Age of Agamemnon’s armada.”\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBorn in Kingston, Jamaica, Mark McMorris is an award-winning poet whose books include \u003cem\u003eEntrepôt\u003c\/em\u003e and \u003cem\u003eThe Blaze of the Poui,\u003c\/em\u003e a finalist for the Lenore Marshall Poetry Prize. He has been a fellow at the MacDowell Colony, writer-in-residence at Brown University, and visiting professor at University of California-Berkeley. He was recently director of the Lannan Center for Poetics and Social Practice at Georgetown University, where he currently teaches.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“This stunning title should be named one of the top poetry books of the year because no one composes poems like Mark McMorris. This is one of those rare collections to be experienced in one sitting, cover to cover; the reader is swept into a realm where language gives birth to a vision so breathtaking and spiritual that any current concept of ‘poem’ must be replaced. . . . \u003cem\u003eEntrepôt\u003c\/em\u003e is an act of enlightenment.” \u003cstrong\u003e—Ray Gonzalez, \u003cem\u003eBloomsbury Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A wary heir to the likes of Pound and Eliot, this ambitious poet creates complex, allusive, polyglot work that’s international in its outlook yet rooted in a specific time and place. . . . Sunlight soaks these verses; tropical vegetation and coral reefs abound. . . . McMorris is eloquent on the subject of desire. But when he writes of war, he comes undeniably into his own as a fierce and vatic bard.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003ePoets’ Quarterly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Should you, dear Reader, make the wise decision to peer in through the double doors of this rich repository, you will then experience the vast and singular scope of Mark McMorris’s poetic insight. Over here, tropic shores and cones of light; there, the monsters and the magi of modernity; further along, the poem itself coming to be, just beyond our grasp. With extraordinary fluency, McMorris reflects on both the purposes of the art and the paradoxes of the present, the violence and beauty, and the sometimes violent beauty, of our times.” \u003cstrong\u003e—Michael Palmer\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“McMorris writes masterfully, is a master, a classicist at heart, a Modernist after all . . . a striver after the main chance, a Great Poet.” \u003cstrong\u003e—Joshua Corey\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707435534,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Entrepot_ff2ccef0-08c1-4b18-bd9d-e2de2d5b121a.jpg?v=1515041927"},{"product_id":"faces-in-the-crowd","title":"Faces in the Crowd","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Valeria Luiselli\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 13, 2014 • 5.25 x 8.5 • 154 pages • 978-1-56689-354-1\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003e\u003cspan\u003eA young mother in Mexico City, captive to a past that both overwhelms and liberates her, and a house she cannot abandon nor fully occupy, writes a novel of her days as a translator living in New York.\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp\u003eA young translator, adrift in Harlem, is desperate to translate and publish the works of Gilberto Owen, an obscure Mexican poet who lived in Harlem during the 1920s, and whose ghostly presence haunts her in the city’s subways. And Gilberto Owen, dying in Philadelphia in the 1950s, convinced he is slowly disappearing, recalls his heyday decades before, his friendships with Nella Larsen, Louis Zukofsky, and Federico Garcia Lorca, and the young woman in a red coat he saw in the windows of passing trains. As the voices of the narrators overlap and merge, they drift into one single stream, an elegiac evocation of love and loss.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eValeria Luiselli was born in Mexico City in 1983 and grew up in South Africa. Her novel and essays have been translated into many languages and her work has appeared in publications including the \u003cem\u003eNew York Times, Granta,\u003c\/em\u003e and \u003cem\u003eMcSweeney’s.\u003c\/em\u003e Some of her recent projects include a ballet libretto for the choreographer Christopher Wheeldon, performed by the New York City Ballet in Lincoln Center in 2010; a pedestrian sound installation for the Serpentine Gallery in London; and a novella in installments for workers in a juice factory in Mexico. She lives in New York City.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cem\u003e\u003cstrong\u003eLiterary Hub, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e“50 Best Contemporary Novels”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s lovely and eccentric first novel is peppered with arresting imagery.” \u003cstrong\u003e\u003cem\u003e—New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s haunting debut novel erodes the concrete borders of everyday life with a beautiful, melancholy contemplation of disappearance. This elegant novel speaks to the transience of reality. The elusive strands of the young woman and Owen’s narratives intertwine and blur together as Luiselli plays with the idea of time and identity with grace and intuition.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e boxed review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A lovely and mysterious first novel. . . . The multilayered book she has devised brings freshness and excitement to such complex inquiries.” \u003cem\u003e\u003cstrong\u003e—Wall Street Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Throughout \u003cem\u003eFaces in the Crowd, \u003c\/em\u003eLuiselli crafts beautiful sentences, while gleefully thumbing her nose at novelistic conventions. All that makes her an exciting and essential voice on the Latin American literary landscape, as further evidenced by the nonfiction collection her U.S. publisher, Coffee House Press, is simultaneously releasing with her essays in \u003cem\u003eSidewalks\u003c\/em\u003e are a wonderful contribution to the long tradition by which authors re-imagine their cities as dream-like spaces created for them to wander around, daydream and discover.” \u003cem\u003e\u003cem\u003e\u003cstrong\u003e—Los Angeles Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“A masterwork of fractured identities and shifting realities, \u003cem\u003eFaces in the Crowd\u003c\/em\u003e is a lyric meditation on love, mortality, ghosts, and the desire to transform our human wreckage into art, to be saved by creation. Valeria Luiselli is a stunning and singular voice. Her work burns with an urgency that demands our attention. Read her. Right now.” \u003cstrong\u003e—Laura Van Den Berg, \u003cem\u003eThe Isle of Youth\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“If every word, for her, has the shadow of two others behind it, and if every city in which she lives carries the ghostly afterimage of all the other cities she has known—as well as the voices of the writers she has researched upon her arrival—then her books become all the more enthralling for the multiplicity they champion. . . . The great beauty of her art is seeing all her contrasting stories collapse or blend or combine into an unexpected whole.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Review of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli draws readers assuredly into a meditation on time, place and identity as if she were expertly kneading dough.” \u003cstrong\u003e—\u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003cem\u003eFaces in the Crowd\u003c\/em\u003e is like nothing I’ve read in a while. . . . Its musings on obsession and ambition are haunting, and its sense of place is fantastic.” \u003cem\u003e\u003cstrong\u003e—Electric Literature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Today, she’s one of the hottest authors around. Her first work, \u003cem\u003eFaces in the Crowd,\u003c\/em\u003e and its companion essay collection, \u003cem\u003eSidewalks,\u003c\/em\u003e are both hits with critics.” \u003cstrong\u003e—\u003cem\u003eOzy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A mother in Mexico City starts writing a novel, and then the novel sort of becomes her life. (Pair with strong coffee.)” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli delivers a telling image of modern time.”\u003cem\u003e \u003cstrong\u003e\u003cem\u003e—Literature and Arts of the Americas\u003c\/em\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFaces in the Crowd\u003c\/em\u003e is a scaffolding that bounds the empty spaces into which the writer and the reader of the novel can insert their imagination. . . . It is empty attention, if not the amazement, of the read and the writer.” \u003cstrong\u003e\u003cem\u003e—Electric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s swirling, layered novel, \u003cem\u003eFaces in the Crowd\u003c\/em\u003e, shares this ‘tell what it was like’ quality.” \u003cstrong\u003e—\u003cem\u003eMissouri Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Well-crafted, playful even as it touches on the very serious. . . . [\u003cem\u003eFaces in the Crowd\u003c\/em\u003e is] an impressively substantial work, in every sense.” \u003cstrong\u003e—\u003cem\u003eComplete Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFaces in the Crowd\u003c\/em\u003e is one of those rare books that manages to upend one’s idea of what might be possible in fiction.” \u003cem\u003e\u003cstrong\u003e—Electric Literature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eFaces in the Crowd\u003c\/em\u003e] paints a truly believable and empathetic and insightful portrait of life. It grabs hold of and dissects and analyzes life in all of its multifaceted glory and misery and whatever falls in between.” \u003cstrong\u003e—\u003cem\u003eThree Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘Valeria Luiselli’s extraordinary debut novel \u003cem\u003eFaces in the Crowd\u003c\/em\u003e signals the arrival of major talent,’ said Jeremy Ellis of Houston’s Brazos Bookstore. ‘Written in Spanish and exquisitely translated by Christina MacSweeney, \u003cem\u003eFaces in the Crowd\u003c\/em\u003e is a fresh and essential voice for the new Latin-American canon.’” \u003cstrong\u003e—American Booksellers Association\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘Prose is for those with a builder’s spirt.’ What a nice line. And what good fortune that we now have Valeria Luiselli’s prose in the States.” \u003cstrong\u003e\u003cem\u003e—Propeller Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“There’s an urgency to this book that I found both challenging and engaging—as the reality of the narrative crumbled, and as the characters became their own ghosts, the feeling of loss that Luiselli is trying to explore began to resemble my own.” \u003cstrong\u003e—\u003cem\u003eAmerican Microreviews and Interivews\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s debut—translated from the Spanish by Christina MacSweeney—is a book whose ingenious formal structure preserves this strenuous negotiation between the contrary impulses to expose and hide away.” \u003cstrong\u003e\u003cem\u003e—­­Make Literary Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Her fiction is shaped by sophisticated plotting, playful characterization, and mesmerizing momentum. Reminiscent of Roberto Bolano and Andre Gide, Luiselli navigates a dynamic, ghostly world between worlds, crisscrossing fact and fiction. Few books are as sure to baffle, surprise, and reward readers as the strange, shifty experiment that is Luiselli’s fiction debut.” \u003cstrong\u003e—\u003cem\u003eBooklist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is just one of three stories that weaves its way through Valeria Luiselli’s masterful \u003cem\u003eFaces in the Crowd\u003c\/em\u003e, a novel in which people die many times just to wake up right where they left off.” \u003cstrong\u003e\u003cem\u003e—The Paris Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Fragmentary and fantastical. . . . Emotional density, laser-cut prose, self-conscience autobiography mixed with invention, and jigsaw-puzzle storylines that gradually assemble themselves to reveal an unpredictable whole.” \u003cstrong\u003e\u003cem\u003e—Wall Street Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFaces in the Crowd\u003c\/em\u003e by Valeria Luiselli is a masterfully structured meta-fictional story. . . . This is a novel about writing at its core, that’s intriguing and entertaining through all its structual complexities.”\u003cstrong\u003e\u003cem\u003e­ —The Review Lab\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In publishing [\u003cem\u003eFaces in the Crowd\u003c\/em\u003e], a novel about a translator living in Mexico City, and Luiselli’s superb collection of essays, \u003cem\u003eSidewalks\u003c\/em\u003e, Coffee House has helped push into the world a great writer who everybody should know about.” \u003cstrong\u003e\u003cem\u003e—Flavorwire\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s debut grabs three strands of narration and twists them into a single, psychogeographical thread. Imagine Teju Cole’s \u003cem\u003eOpen City\u003c\/em\u003e or Ben Lerner’s \u003cem\u003eLeaving the Atocha Station\u003c\/em\u003e; as a debut novel, it’s that good.” \u003cstrong\u003e\u003cem\u003e—Flavorwire\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFaces in the Crowd\u003c\/em\u003e is the greatest of all things: a novel meant to be reread.”\u003cstrong\u003e\u003cem\u003e­ —The Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Luiselli’s] writing blurs the line between life and death across three narratives that overlap in content and time. . . . You’ll fall into the pages and believe the connections between people-ghosts or not-to be true.” \u003cstrong\u003e\u003cem\u003e—Hazel \u0026amp; Wren\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A multi-angled portrait of the artist as a young woman, as a con artist, as a young mother and wife, this book immerses the reader in the most enchanting and persuasive intimacy. The fearless, half-mad imagination of youth has rarely been so freshly, charmingly and unforgettably portrayed. Valeria Luiselli is a precociously masterful and entirely original new writer.” \u003cstrong\u003e—Francisco Goldman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is one of those books that I fell for after the first six pages. . . . Luiselli handles this stream-of-consciousness style with charm and mastery, making the story of love, identity, art, and ghosts unforgettable.” \u003cstrong\u003e\u003cem\u003e—Book Riot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eFaces in the Crowd\u003c\/em\u003e was] so surprising and so exhilarating that I read it twice during the past week.” \u003cstrong\u003e\u003cem\u003e—Seeing the World Through Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli sketches a rich and enthralling world.” \u003cstrong\u003e\u003cem\u003e—Public Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s spare and probing essays touch on a variety of subjects and are unified by a capacious imagination.” \u003cstrong\u003e\u003cem\u003e—SFGate\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Debut novel [\u003cem\u003eFaces \u003c\/em\u003e\u003cem\u003ein the Crowd\u003c\/em\u003e] has gotten a ton of praise in all the right places, and the reviews have piqued my curiosity.” \u003cstrong\u003e\u003cem\u003e—Barnes \u0026amp; Noble Book Blog \u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003cem\u003eFaces in the Crowd\u003c\/em\u003e is one of the most mesmerizing debut novels in recent memory.” \u003cstrong\u003e—Diesel Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli, a young writer from Mexico City, who shows here an incredibly nuanced control over details and time.” \u003cstrong\u003e—Green Apple on the Park Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A shining star of 2014. . . . Brilliant and beautiful.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I found myself dog-earing pages throughout to go back and make notes on . . . until I realized I was marking pretty much every single page.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s extraordinary debut novel \u003cem\u003eFaces in the Crowd\u003c\/em\u003e signals the arrival of major talent. The novel’s fragmented, poetic narrative immediately engages and slowly reveals its secrets. Is this a story about a woman discovering a forgotten Latin poet of the Harlem Renaissance? Is the woman imagined by the poet? Are they both ghosts in search of some way back to the real? Written in Spanish, and exquisitely translated by Christina MacSweeney, \u003cem\u003eFaces in the Crowd\u003c\/em\u003e is a fresh and essential voice for the new Latin-American canon.” \u003cstrong\u003e—Jeremy Ellis, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This book is pretty short and fueled by cigarettes and coffee, so you’ll probably motor through it and want some more. You’re in luck because Luiselli wrote a fantastic book of essays, \u003cem\u003eSidewalks\u003c\/em\u003e, released at the same time. Go on a bender and read them back to back. You won’t regret it.”­ \u003cstrong\u003e—Brooke, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I’d loved every page of Valeria Luiselli’s novel. . . . \u003cem\u003eFaces in the Crowd\u003c\/em\u003e highlights the question [of identity] more vividly, more urgently, than any novel I’ve read in recent years.” \u003cstrong\u003e\u003cem\u003e—Full Stop\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of the most original new voices in translation.” \u003cstrong\u003e\u003cem\u003e—Words Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[In \u003cem\u003eFaces in the Crowd\u003c\/em\u003e] three timelines snuggle up alongside one another in a neat, poetic fashion. . . . This feels like a book which has been woven as much as written.”\u003cstrong\u003e\u003cem\u003e­­ —Doe-eyed Critic\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Perhaps Luiselli’s true gift is that these essays still manage to be filled with a sense of hope . . . [and] an ability to find the beauty in destruction, acceptance in the face of crumbling cities and inadequate words.” \u003cstrong\u003e\u003cem\u003e—Publik\/Private\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s hallucinatory novel follows a young academic drawn to the life of the early 20th-century poet Gilbert Owen. What begins as obsession takes a surreal turn, and the two narratives begin to influence and haunt each other.” \u003cstrong\u003e\u003cem\u003e—OZY\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s debut novel is brilliantly conceived and executed examination of the ways the past infiltrates the present and how art bleeds into life.” \u003cstrong\u003e\u003cem\u003e—Racked\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An outstanding, cerebral read that bridges the gap between poetry and prose and clearly positions the author as one of the freshest, most exciting new voices emerging from Latin American literature.” \u003cstrong\u003e\u003cem\u003e—Entropy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFaces in the Crowd\u003c\/em\u003e is a wonderful piece of writing, elegant, poignant and light when it needs to be.” \u003cstrong\u003e\u003cem\u003e—Tony’s Reading List\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In its supremely casual and confident treatment of Self and Other, of Fact and Fiction—the way it makes non-issues out of both—\u003cem\u003eFaces in the Crowd\u003c\/em\u003e is something new, something revolutionary.” \u003cem\u003e\u003cstrong\u003e—Fiction Advocate\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Translasted from Spanish, \u003cem\u003eFaces in the Crowd\u003c\/em\u003e by Valeria Luiselli has a lyrical cadence to it. It moves in hazy, dreamlike moments rather than scenes. . . . In Luiselli’s narrative experimentation, we find gravitas in her character’s confusion.” \u003cstrong\u003e\u003cem\u003e—Grantland\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Everybody should read \u003cem\u003eFaces in the Crowd\u003c\/em\u003e. Read it for Luiselli’s language. Read it for the masterly translation by MacSweeney. . . . More people need to read \u003cem\u003eFaces in the Crowd\u003c\/em\u003e and \u003cem\u003eSidewalks\u003c\/em\u003e.” \u003cstrong\u003e\u003cem\u003e—Three Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Audacious, conceptually cutting edge.” \u003cstrong\u003e\u003cem\u003e—Three Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003cem\u003eFaces in the Crowd\u003c\/em\u003e is one of the year’s most striking and cleverly written novels, a debut that heralds the arrival of a promising literary voice.” \u003cstrong\u003e\u003cem\u003e—Largehearted Boy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s fascinating novel is quite occupied with the hidden pauses between paragraphs. . . . \u003cem\u003eFaces in the Crowd\u003c\/em\u003e is very much a cousin to Jenny Offill’s excellent novel, \u003cem\u003eDept. of Speculation\u003c\/em\u003e, in a way that it coaxes the reader to fixate on the asterisks between the short sections.” \u003cstrong\u003e\u003cem\u003e—Reluctant Habits\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eFaces in the Crowd\u003c\/em\u003e is a subtle, sophisticated examination of identity, authenticity, and poetry. The narrator, a young married writer and mother of two, shares her struggles to write a novel about an obscure Mexican poet and the novel in progress, while remembering the time her life when she became obsessed with him. Luiselli braids the three narrative currents into a brilliant meditation on the nature of creation. Translation hoax. Ghosts on the subway. The demonstrative vocabulary of a clever toddler. The mix of fact and fiction on the page and in the mind. With her first novel, Luiselli has established herself as a brilliant explorer of voice, self, and art.”\u003cstrong\u003e—Josh Cook, Porter Square Books\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Luiselli weaves together her own philosophy . . . with the novel’s predilection for subterranean encounters in a way that feels deft, not contrived.” \u003cstrong\u003e\u003cstrong\u003e\u003cem\u003e—Quarterly Conversation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Masterful. Excellent translation.” \u003cstrong\u003e\u003cstrong\u003e\u003cem\u003e—The Wandering Bibliophile\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“[\u003cem\u003eFaces in the Crowd\u003c\/em\u003e] contemplates existential angst like a 21st Century version of Nausea.\" \u003cstrong\u003e\u003cstrong\u003e\u003cem\u003e—KCET\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“I was delighted and surprised, and I’m recommending [\u003cem\u003eFaces in the Crowd\u003c\/em\u003e] to everyone.” \u003cstrong\u003e—\u003cstrong\u003eMichael Silverblatt, KCRW\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“[Judges cited] the exceptional promise it demonstrates as a debut novel.” \u003cstrong\u003e—\u003cstrong\u003e\u003cem\u003eThree Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eFaces in the Crowd\u003c\/em\u003e, beyond its gorgeous writing and superb composition, is modest yet striking, measured yet salient.” \u003cstrong\u003e—\u003cstrong\u003ePowells.com\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707438478,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Faces-in-the-Crowd1.jpg?v=1499210674"},{"product_id":"flickering-shadows","title":"Flickering Shadows","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Kwadwo Agymah Kamau\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 1, 1996 • 6 x 9 • 304 pages • 978-1-56689-049-6\u003c\/h5\u003e\n\u003ch4\u003ePolitical corruption, lust, and betrayal poison a Caribbean island paradise.\u003c\/h4\u003e\n\u003cp\u003eDeeply engrossing and beautifully written, this debut novel marks the stunning arrival of a major new talent. Set on a fictional Caribbean island, \u003cem\u003eFlickering Shadows \u003c\/em\u003eis the story of the colorful and compelling inhabitants of a small ex-colony, a village called the Hill. Cephus’s grandfather—arguably one of the most intriguing narrators to appear in fiction in some time—draws the reader into the lives and vivid dramas of the whole community. Cephus, Doreen, Boysie, Inez, young Kwame, the ghost, Dolphus, and an array of vibrantly depicted characters form a rich and hypnotic tale of love and betrayal, selflessness and honor, lust and dignity. Played out against a backdrop of political chicanery and religious corruption, this entrancing novel captivates from its first sentence to its breathtaking and unforgettable conclusion.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“People have been asking for some time now: where are the Bajan griot voices to succeed George Lamming, Paule Marshall, Austin Clark? Well, look in vain no further. Here, fresh \u0026amp; young in the spirit-fields of that nearest-to-Africa Caribbean island, is my namesake Kwadwi Agymah Kamau’s first novel, \u003cem\u003eFlickering Shadows,\u003c\/em\u003e continuing the great coral\/choral-calling tradition of Barbados.” \u003cstrong\u003e—Kamau Brathwaite, \u003cem\u003eSavacou Publications\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dazzling in its playful, poetic language; haunting in its authentic evocation of aplace; and totally original in narrative voice, \u003cem\u003eFlickering Shadows\u003c\/em\u003e is a gem, a work of pure enchantment. To read it is to fall under an island spell. Tragic yet uplifting, this is fiction at its best.” \u003cstrong\u003e—Lee Smith, author of \u003cem\u003eSaving Grace\u003c\/em\u003e and\u003cem\u003e The Last Day the Dogbushes Bloomed\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Kamau is a loving native son\/literary ju ju man whose language is sheer poetry nothing less! His people are unforgettable, their pride and strength a monument, brought forth, made sacred on the pages of this jewel of a book.” \u003cstrong\u003e—Marita Golden, author of \u003cem\u003eAnd Do Remember Me\u003c\/em\u003e and \u003cem\u003eSaving Our Sons\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In this, his first novel, Agymah Kamau has taken life in a hard-scrabble little West Indian village and, through the power of his vision and his lean poetic prose, made it speak for the oppressed the world over. An impressive debut.” \u003cstrong\u003e—Paul Marshall, author of \u003cem\u003eDaughters\u003c\/em\u003e and \u003cem\u003eThe Chosen Place, The Timeless People\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Here is a compelling new voice from the Caribbean. . . . Reading Kwadwo Agymah Kamau’s extraordinary first novel calls to mind Vic Reid’s masterful capturing of the cadences and idioms of Caribbean speech; Erna Brodber’s mesmerizing poetic lyricism; Wilson Harris’s provocative magical realism; Sam Selvon’s seductive humor; and George Lamming’s political imperatives.” \u003cstrong\u003e—Daryl Cumber Dance, editor, \u003cem\u003eFolklore from Contemporary Jamaicans \u0026amp; Fifty Caribbean Writers\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707441870,"sku":"","price":21.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Flickering_Shadows.jpg?v=1515042753"},{"product_id":"in-the-shadow-of-al-andalus","title":"In the Shadow of Al-Andalus","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Victor Hernández Cruz\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 18, 2011 • 5.9 x 8.9 • 140 pages • 978-1-56689-277-3\u003c\/h5\u003e\n\u003ch4\u003eCruz explores the nexus of Islamic artistic influences in Spain, Puerto Rico, and North Africa.\u003c\/h4\u003e\n\u003cp\u003eThese poems mine the rich history and broad influence of Islam in Spain and beyond, and illuminate connections between places as diverse and far-flung as Puerto Rican villages, the bustling streets of New York, and the sun-drenched beaches of Morocco.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVictor Hernández Cruz is the author of several collections of poetry including, most recently, \u003cem\u003eThe Mountain in the Sea\u003c\/em\u003e and \u003cem\u003eIn the Shadow of Al-Andalus.\u003c\/em\u003e Featured in Bill Moyers’s\u003cem\u003e Language of Life\u003c\/em\u003e series, Cruz’s collection \u003cem\u003eMaraca\u003c\/em\u003e was a finalist for the Lenore Marshall and Griffin Poetry Prizes. He divides his time between Morocco and his native Puerto Rico.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“A rare book that shows how pure art is the most political tool imaginable, more effective and beautiful than any weapon or social dogma buried in literary texts. . . . In this monumental and historic text Cruz shows two sides of the wandering poet. The first is the vulnerable man who has to leave family behind. The second is the collector of world experience, confronting the forces of time, memory, and culture in the sands of Africa or the jungles of the Caribbean. Cruz is an expert at drawing the reader in.” \u003cstrong\u003e—Ray Gonzalez, \u003cem\u003eBloomsbury Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Victor Hernández Cruz, child of Puerto Rico and Nueva York, has actually taken the journey back to a home he never inhabited but always knew, living between Morocco and his native island in the Caribbean. \u003cem\u003eIn the Shadow of Al-Andalus\u003c\/em\u003e is a record of that hejira, that flight between place, memory, emotion, and history, and Cruz has created a kind of North African\/Andalusian ‘jíbarismo,’ pronouncing again the values of the traditional, hard-working Puerto Rican whose currency is common sense. 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The poems came out of the author’s personal quest for a written history that reflects his intricate cultural identity and yet, they come to represent the expatriate’s cry, the exile’s song, and the descendant’s lullaby that echo over centuries.” \u003cstrong\u003e—\u003cem\u003ePhati’tude Literary Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707488526,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/In-the-Shadow-of-Al-Andalus.jpg?v=1499210772"},{"product_id":"maraca","title":"Maraca","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Victor Hernández Cruz\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 1, 2001 • 7 x 10 • 300 pages • 978-1-56689-122-6\u003c\/h5\u003e\n\u003ch4\u003eA colorful, percussive collection spanning thirty-five years.\u003c\/h4\u003e\n\u003cp\u003eAt the age of nineteen Victor Hernández Cruz exploded onto the national poetry scene with his dazzling debut, \u003cem\u003eSnaps.\u003c\/em\u003e \u003cem\u003eMaraca: New and Selected Poems 1965-2000 \u003c\/em\u003eis a sumptuous collection representing over thirty-five years of poetic evolution from one of America’s most exhilarating poets, featuring work from long out-of-print works, including \u003cem\u003ePapo Got His Gun, Snaps, Mainland, Tropicalization, By Lingual Wholes,\u003c\/em\u003e and \u003cem\u003eRhythm, Content \u0026amp; Flavor.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVictor Hernández Cruz is the author of several collections of poetry including \u003cem\u003eThe Mountain in the Sea\u003c\/em\u003e and \u003cem\u003eIn the Shadow of Al-Andalus.\u003c\/em\u003e Featured in Bill Moyers’s Language of Life series, Cruz’s collection \u003cem\u003eMaraca\u003c\/em\u003e was a finalist for the Lenore Marshall and Griffin Poetry Prizes. He divides his time between Morocco and his native Puerto Rico.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“A fluent sensualist and rhythmic stylist. . . . [Cruz] is often invoked as a revered forerunner and seminal influence on the Nuyorican poetry movement.” \u003cstrong\u003e\u003cem\u003e—Washington Post\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Wit, insight, and faith in the survival of a human universe combine.” \u003cstrong\u003e—Anselm Hollo\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Tough, lyrical, rhythmic, lush, dead-pan funny and dead-pan beautiful.” \u003cstrong\u003e—Jessica Hagedorn\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What would be treacle in the hands of lesser souls in quirky and utterly lovely in Cruz’s.” \u003cstrong\u003e\u003cem\u003e—Voice Literary Supplement\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707539726,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Maraca-CMYK.jpg?v=1499210811"},{"product_id":"my-love-my-love-or-the-peasant-girl","title":"My Love, My Love, or The Peasant Girl","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Rosa Guy\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 1, 2002 • 5.5 x 7.5 • 168 pages • 978-1-56689-131-8\u003c\/h5\u003e\n\u003cp\u003eRosa Guy’s tropical retelling of “The Little Mermaid” is the gorgeous, tragic love story of Desiree, a beautiful peasant girl who devotes herself to the handsome, aristocratic young man whose life she has saved. When his upper-class family feels that Desiree’s skin is too dark and her family too poor for a boy destined for power and wealth, Desiree proves that she is willing to give everything for love. This lovely reprint will break your heart.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBorn in Trinidad, Rosa Guy (1922-2012) was the author of fifteen novels, including \u003cem\u003eBird at My Window, The Friends,\u003c\/em\u003e and \u003cem\u003eA Measure of Time.\u003c\/em\u003e She was a co-founder of both the Harlem Writer’s Guild and the Black Arts Movement. Guy received the Coretta Scott King Award, the American Library Association’s Best Book Award, and the Phyllis Wheatley Award, given by the Harlem Book Fair. Ms. Guy lived in New York City.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Rosa Guy is a fine writer and she continually gives us new issues to contemplate.” \u003cstrong\u003e—Maya Angelou\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of those rare and wonderful breed, a storyteller. May her tribe increase.” \u003cstrong\u003e—\u003cem\u003eWashington Post\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Guy’s evocative, lyrical prose makes the appearance of fantastical elements—such as Death personified with a glowing cigar clenched between his teeth—feel natural.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The author’s lilting phrases and poetic grace evoke memorable scenes of a bucolic setting. . . . Guy is brilliant when capturing the dilemma of class.” \u003cstrong\u003e—\u003cem\u003eBlack Issues Book Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[The novel] derives much of its undeniable appeal from the author’s ability to capture the rhythm and color of Caribbean speech.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Times Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It’s a testament to both of these heroines—so lovingly created, so achingly human, so believably true in their yearnings—that we want both of them to attain that ultimate mundane dream that made them so relatable in the first place.” \u003cstrong\u003e—\u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707557838,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/My-Love-My-Love-CMYK.jpg?v=1499210825"},{"product_id":"panoramas","title":"Panoramas","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Victor Hernández Cruz\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 1, 1997 • 6 x 9 • 192 pages • 978-1-56689-066-3\u003c\/h5\u003e\n\u003ch4\u003eDancing in your hands, \u003ci\u003ePanoramas\u003c\/i\u003e illuminates Latin American\/Caribbean culture in the U.S. and abroad.\u003c\/h4\u003e\n\u003cp\u003eA native of Puerto Rico who grew up in New York during the fifties, Cruz seeks out the most disparate images, ideas, people, and finds in them confluence, rather than conflict. Utilizing a system of Caribbean syntheses, he meditates on his native soil and its diaspora. Inspired by Latin American oral traditions and literature and diverse northern poetics, he melts these influences into a tapestry, creating a unique North American contemporary style truly his own. \u003cbr\u003e\u003cbr\u003eWith the power of a tropical storm and the heat of the sweltering sun, Cruz presents a bird’s-eye view of the crisscrossing cultures in Latin America, the Caribbean, Los Angeles, and the Lower East Side. Included in \u003cem\u003ePanoramas\u003c\/em\u003e are works in both Spanish and English.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVictor Hernández Cruz is the author of several collections of poetry including \u003cem\u003eThe Mountain in the Sea\u003c\/em\u003e and \u003cem\u003eIn the Shadow of Al-Andalus.\u003c\/em\u003e Featured in Bill Moyers’s \u003cem\u003eLanguage of Life\u003c\/em\u003e series, Cruz’s collection \u003cem\u003eMaraca\u003c\/em\u003e was a finalist for the Lenore Marshall and Griffin Poetry Prizes. He divides his time between Morocco and his native Puerto Rico.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Victor Hernández Cruz has been singing to us for almost thirty years. From his native Puerto Rico to the continent of a million streets, his voice has been heard. As poetry influences how we step into the next century, Cruz’s poems will be some of the first we read on the other side.”\u003cstrong\u003e —Ray Gonzalez\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePanoramas\u003c\/em\u003e’s synthesis of prose and poetry, Spanish and English, New Yorkese and Puerto Rican, offers a surprisingly civilized and gracious tone, a different possibility, for North America’s future.” \u003cstrong\u003e—Alice Notley\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In these new poems and essays, colorful, percussive, erudite, and innovative as ever, Victor Hernández Cruz once again shares a world of generosity and live tradition. Wit, insight, and faith in the survival of a human universe combine to make this book a tonic and a gift. ¡Arriba Victor! ¡Arriba Puerto Rico!” \u003cstrong\u003e—Anselm Hollo\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003ePanoramas\u003c\/em\u003e we not only hear the music of Puerto Rico, we share sensually in all it has to offer. The fantastic imagery of these poems transports us to the magical heart of El Caribe.” \u003cstrong\u003e—Rudolfo Anaya\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003ePanoramas\u003c\/em\u003e is a wonderful celebration of the cultural blend of Puerto Rico’s Spanish, African, and Taino legacies, a veritable pot of sights, sounds, and flavors. La mancha de plantano comes alive in the writings of Victor Hernández Cruz.” \u003cstrong\u003e—Adrian R. Tio\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707603662,"sku":"","price":12.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Pamoramas.jpg?v=1499210854"},{"product_id":"pictures-of-a-dying-man","title":"Pictures of a Dying Man","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Agymah Kamau\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 1, 1999 • 6 x 9 • 227 pages • 978-1-56689-087-8\u003c\/h5\u003e\n\u003ch4\u003eThe mysterious death of an island village’s favorite son forces the townspeople to reexamine their lives.\u003c\/h4\u003e\n\u003cp\u003eWhen Gladstone Belle is found hanging from a beam in his own house, everyone in the village tries to understand who he really was, and why he killed himself. In this Caribbean \u003cem\u003eCitizen Kane,\u003c\/em\u003e the voices of Gladstone’s past accumulate, complementing and contradicting each other, to arrive at an understanding of Gladstone’s true identity and the circumstances that complicated his life. And his death. \u003cbr\u003e\u003cbr\u003eIs a human life merely the sum of other people’s perceptions of it, a compilation of rumors and hearsay? What happens if those views are erroneous? Continuing in the vein of his critically acclaimed novel, \u003cem\u003eFlickering Shadows,\u003c\/em\u003e Agymah Kamau weaves a colorful story, full of deception, love, and loss, around a community’s remembrances of a Gladstone Belle. We discover the intricacies of living in a small Caribbean community by seeing things through the eyes of an array of vivid characters, including Isamina, his wife; Esther and Sonny-Boy, his mother and father; Carl, the suspicious husband of his former lover; PeeWee, the village gangster; Theophilus Bascombe, a disgruntled coworker; and Marie Antoinette LaSalle, the histrionic clairvoyant.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn a diverse community and political world riddled with rumors of murder and disappearance, Gladstone’s humble beginnings and honest manner win the community’s trust. He quickly moves up the political ladder. But his life is cut short when he decides that he can no longer look the other way. He realizes that everything around him has suffered from this corruption: his marriage, his friendships, and his dignity. The narrative of Gladstone Belle’s life and death illumines the complexity of class distinctions within a postcolonial community.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Kamau’s intriguing second novel gives new meaning to the notion that seeing is not always believing. . . . Kamau writes in a lilting, unaffected style with real compassion for his characters. This is a haunting, powerful, beautiful story.” \u003cstrong\u003e\u003cem\u003e—Library Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Conveys lyrically and simply the lifestyle of an unnamed Caribbean village and the complexity of a single human life.” \u003cstrong\u003e—\u003cem\u003eBooklist,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707611854,"sku":"","price":23.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Picture_of_Dying_Man.jpg?v=1515103357"},{"product_id":"red-beans","title":"Red Beans","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry and prose by Victor Hernández Cruz\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 1, 1991 • 6 x 9 • 160 pages • 978-0-918273-91-8\u003c\/h5\u003e\n\u003cp\u003eFull of native intuitions, Caribbean musical rhythms, Castilian and Moorish mood influences, \u003cem\u003eRed Beans\u003c\/em\u003e is a historic celebration and a quest, centered in family, culture and nation. Cooked in the Caribbean, \u003cem\u003eRed Beans\u003c\/em\u003e is a hearty concoction which spices up the English language with a rich combination of cultures and races.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVictor Hernández Cruz is the author of several collections of poetry including \u003cem\u003eThe Mountain in the Sea\u003c\/em\u003e and \u003cem\u003eIn the Shadow of Al-Andalus.\u003c\/em\u003e Featured in Bill Moyers’s \u003cem\u003eLanguage of Life\u003c\/em\u003e series, Cruz’s collection \u003cem\u003eMaraca\u003c\/em\u003e was a finalist for the Lenore Marshall and Griffin Poetry Prizes. He divides his time between Morocco and his native Puerto Rico.\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Bilingual since childhood, Mr. Cruz writes poems about his native Puerto Rico and elsewhere which often speak to us with a forked tongue, sometimes in a highly literate Spanglish. . . . He’s a funny, hard-edged poet, declining always into mother wit and pathos.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eNew York Times Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Victor Hernández Cruz believes in song; believes that the poem is a song made out of his life and a people’s world. . . . He has to be considered one of the best and freshest lyric poets we have in America today.” \u003cstrong\u003e—\u003cem\u003eSan Francisco Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Victor Hernández Cruz’s work showed me the excitement and possibilities of poetry.” \u003cstrong\u003e—\u003cem\u003eVoice Literary Supplement\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707623310,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Red-Beans.jpg?v=1499210881"},{"product_id":"sidewalks","title":"Sidewalks","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eEssays by Valeria Luiselli\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 13, 2014 • 5.25 x 8.5 • 120 pages • 978-1-56689-356-5\u003c\/h5\u003e\n\u003ch4\u003eCosmopolitan, vivacious essays in the tradition of Brodsky’s \u003ci\u003eWatermark\u003c\/i\u003e and Benjamin’s \u003ci\u003eThe Arcades Project\u003c\/i\u003e by a celebrated young Mexican author.\u003c\/h4\u003e\n\u003cp\u003eValeria Luiselli is an evening cyclist; a literary tourist in Venice, searching for Joseph Brodsky’s tomb; an excavator of her own artifacts, unpacking from a move. In essays that are as companionable as they are ambitious, she uses the city to exercise a roving, meandering intelligence, seeking out the questions embedded in our human landscapes.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eValeria Luiselli was born Mexico City in 1983 and grew up in South Africa. A novelist (\u003cem\u003eFaces in the Crowd\u003c\/em\u003e) and essayist (\u003cem\u003eSidewalks\u003c\/em\u003e), her work has been translated into many languages and has appeared in publications including the \u003cem\u003eNew York Times,\u003c\/em\u003e the \u003cem\u003eNew Yorker, Granta,\u003c\/em\u003e and \u003cem\u003eMcSweeney’s.\u003c\/em\u003e In 2014, \u003cem\u003eFaces in the Crowd\u003c\/em\u003e was the recipient of the \u003cem\u003eLos Angeles Times\u003c\/em\u003e Art Seidenbaum Award for First Fiction and the National Book Foundation’s 5 Under 35 award. Her forthcoming novel, \u003cem\u003eThe Story of My Teeth,\u003c\/em\u003e will be available from Coffee House Press in fall 2015.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Together with [Luiselli’s novel] \u003ci\u003eFaces in the Crowd,\u003c\/i\u003e her essays in \u003ci\u003eSidewalks\u003c\/i\u003e are a wonderful contribution to the long tradition by which authors re-imagine their cities as dream-like spaces created for them to wander around, daydream and discover.” \u003cb\u003e—\u003ci\u003eLos Angeles Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[Luiselli’s] subtexts become almost a guide—asides we might hear from the city itself, whispering to us as we walk of bicycle through it, speaking of its secrets. So it is with the best travel books and memoirs, those that go beyond simply recounting a journey. They allow the reader to wander with the writer; to tap into her voice and imagination.” \u003cb\u003e—\u003ci\u003eLos Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s writing is full of verve.” \u003cb\u003e—\u003ci\u003eIrish Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The disciplines conversed within \u003ci\u003eSidewalks\u003c\/i\u003e include cartography, architecture, and urban planning; Luiselli bicycles through Mexico City, strolls the New York City streets, and visits Joseph Brodsky’s grave in Venice. These wanderings are unified by a distinctive narrative voice: pensive, questioning, always something of a stranger in a strange land.” \u003cb\u003e—\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“If every word, for her, has the shadow of two others behind it, and if every city in which she lives carries the ghostly afterimage of all the other cities she has known—as well as the voices of the writers she has researched upon her arrival—then her books become all the more enthralling for the multiplicity they champion. . . . The great beauty of her art is seeing all her contrasting stories collapse or blend or combine into an unexpected whole.” \u003cb\u003e—\u003ci\u003eLos Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The essays in \u003ci\u003eSidewalks\u003c\/i\u003e don’t connect or come together, and they aren’t commenting on a single thing; what we have is the Mexico City native (the book was lovingly translated from Spanish by Christine MacSweeney) distilling observations from her walks and the thinking she does on them. Handled any other way, that sort of thing could render any book of essays tedious and ultimately boring, but Luiselli turns it into something illuminating and delightful.” \u003cb\u003e—\u003ci\u003eFlavorwire\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“These essays take an unhurried pace well-suited for the ambling walks and bike rides that inspired them, deepened by literary and historical asides that situate these places in a context beyond the present moment. Language holds as much significance as geography here.” \u003cb\u003e—\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Place, identity and the limitations of language converge in this slim collection of illuminating and incisive essays. . . . These essays are more impressive in both their expansiveness and epigrammatic precision.” \u003cb\u003e—\u003ci\u003eKirkus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s spare and probing essays touch on a variety of subjects and are unified by a capacious imagination.” \u003cb\u003e—\u003ci\u003eSFGate\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Whether they are tectonic plates shifting beneath the surface of a paragraph or the double wrecking ball of the line break above and below every aphorism, the formal choices of \u003cem\u003eSidewalks\u003c\/em\u003e are in conversation with the loud silences and composed fragmentations inherent in life and literature.” \u003cb\u003e\u003ci\u003e—Lapham’s Quarterly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This book is the greatest of all things: a novel meant to be reread.” \u003cb\u003e\u003ci\u003e—The Rumpus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s experimental essays are subdivided into brief, poignant observations that combine elements of travel writing, literary criticism and memoir. . . . Places, even the absence of places, are the landscapes across which her imagination and intellect travel in this masterful collection of essays.” \u003cb\u003e\u003ci\u003e—Longitude\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eFaces in the Crowd\u003c\/i\u003e and \u003ci\u003eSidewalks\u003c\/i\u003e] have a combined weight that dwarfs the already considerable gravity they individually have.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003cem\u003eKGB Bar\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“For Luiselli, like Borges, the continuity between literature and reality is such that, if literature is a process of the imagination, then the world from which art is created is inseparably a part of that dream.” \u003cb\u003e—\u003ci\u003ePANK\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli is exceptionally good at weaving together seemingly disparate parts to make a whole essay that feels at once thoughtful, surprising, and carefully constructed.” \u003cb\u003e—\u003ci\u003eYour Impossible Voice\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“‘A writer is a person who distributes silences and empty spaces.’ What a pleasure to wander through Valeria Luiselli’s meditative, precisely constructed landscapes of the city and interior. To read her essays is to have access to a map, a history, an passionate library, a thoughtful gaze, a sensitive and beautiful mind.” \u003cb\u003e—Kate Zambreno\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In a little over one hundred pages the peripatetic Luiselli covers Mexico City, Venice and New York—amongst others—with a quick eye and a scholar’s heart. She is a keen excavator and expositor; the history of places, people, words and ideas are deftly woven together in brief tapestries of a life lived around the world.” \u003cb\u003e—\u003ci\u003eReview 31\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli is a writer of formidable talent, destined to be an important voice in Latin American letters. Her vision and language are precise, and the power of her intellect is in evidence on every page.” \u003cb\u003e—Daniel Alarcon\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Her essays are philosophical, smart, wandering. They feel natural, uncontrived, relaxed.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cb\u003e\u003ci\u003eAsymptote\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In publishing [\u003ci\u003eFaces in the Crowd\u003c\/i\u003e, a] novel about a translator living in Mexico City, and Luiselli’s superb collection of essays, \u003ci\u003eSidewalks\u003c\/i\u003e, Coffee House has helped push into the world a great writer who everybody should know about.” \u003cb\u003e—\u003ci\u003eFlavorwire\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“On the cartography of empty spaces, by Valeria Luiselli, who is startlingly good writer.” \u003cb\u003e—Alexis Madrigal\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s words (and Christina MacSweeney’s translation) seem to flow effortlessly across the page, and one could describe these glimpses into the author’s world as graceful prose poems or laments.” \u003cb\u003e\u003ci\u003e—JacqueWine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Reminiscent of Sebald and Walser, unafraid of her own authority, Luiselli has produced an essay collection less heralded than many others this year and far better.” \u003cb\u003e\u003ci\u003e—New York Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A beautiful, meandering collection of essays full of filaments of brilliance on everything from literature, philosophy, traveling in graveyards, to untranslatable words. The book is full of deep insights yet remains unpretentious throughout.” \u003cb\u003e\u003ci\u003e—Publishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s hallucinatory novel follows a young academic drawn to the life of the early 20th-century poet Gilbert Owen. What begins as obsession takes a surreal turn, and the two narratives begin to influence and haunt each other.” \u003cb\u003e\u003ci\u003e—OZY\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli navigates a tricky path through the essay. A cemetery’s graves, like an unread book, contains what we do not know; a less adept essayist could very well lose clarity and precision when presented with that great expanse of information. But Luiselli relishes the unknowns.” \u003cb\u003e—\u003ci\u003eEssay Daily\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707650958,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Sidewalks.jpg?v=1499210910"},{"product_id":"the-last-warner-woman","title":"The Last Warner Woman","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Kei Miller \u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMarch 27, 2012 • 5.5 x 8.3 • 256 pages • 978-1-56689-296-4\u003c\/h5\u003e\n\u003ch4\u003eThe American debut of a Caribbean literary talent often compared to Orange Prize winner Andrea Levy and Alexander McCall Smith.\u003c\/h4\u003e\n\u003cp\u003eAdamine Bustamante is born in one of Jamaica’s last leper colonies. When Adamine grows up, she discovers she has the gift of “warning”: the power to protect, inspire, and terrify. But when she is sent to live in England, her prophecies of impending disaster are met with a different kind of fear—people think she is insane and lock her away in a mental hospital.\u003cbr\u003e\u003cbr\u003eNow an older woman, the spirited Adamine wants to tell her story. But she must wrestle for the truth with the mysterious “Mr. Writer Man,” who has a tale of his own to share, one that will cast Adamine’s life in an entirely new light. In a story about magic and migration, stories and storytelling, and the New and Old Worlds, we discover it is never one person who owns a story or has the right to tell it.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eBorn in Kingston, Jamaica, in 1978, Kei Miller is the author of \u003cem\u003eThe Same Earth,\u003c\/em\u003e winner of the Una Marson Prize for Literature, \u003cem\u003eFear of Stones,\u003c\/em\u003e which was shortlisted for the Commonwealth Writers’ Prize for Best First Book, and \u003cem\u003eThe Last Warner Woman.\u003c\/em\u003e His most recent poetry collection has been shortlisted for the Jonathan Llewelyn Rhys Prize, the Bocas Prize for Caribbean Literature, and the Scottish Book of the Year Award. In 2008, he was an International Writing Fellow at the University of Iowa. Miller currently divides his time between Jamaica and Scotland.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please call (612) 338-0125 or email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Emotionally absorbing.” \u003cstrong\u003e—\u003cem\u003eO Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mysticism, magic, tragedy and second changes figure largely in Kei Miller's \u003cem\u003e The Last Warner Woman\u003c\/em\u003e; heroine Adamine Bustamante is born with a magical skill in a Jamaican leper colony and moves to London, where her gift is not always welcomed.” \u003cstrong\u003e—\u003cem\u003eEBONY\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“This book—like Ken Kesey’s \u003cem\u003eOne Flew Over the Cuckoo’s Nest—\u003c\/em\u003einterrogates the idea of ‘normality’, but Miller also expects his readers to consider how what seems downright peculiar in one culture (England) is quite normal in another (Jamaica) . . . this is a splendid book and I hope my library has more of this author’s work.” \u003cstrong\u003e—\u003cem\u003eANZ Litlovers\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a deceptive spellbinder, a metafiction so disguised as old-time storytelling that you can almost hear the crackle of home fire as it starts. But then it gets you with twists and turns, seduces and shocks you even as it wrestles with the very nature of storytelling itself. Like the best Jean Rhys novel it’s the story of women haunted by women, and of the dangers of both keeping secrets and saying too much.” \u003cstrong\u003e—Marlon James\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Beautifully imaginative and structurally inventive. . . . Miller’s narrative alternates between Adamine’s first-person account, told in a colorful and soul-baring patois, and sections recounted, mostly in the third person, by Mr. Writer Man. The two viewpoints at times conflict in illuminating ways, but Mr. Writer Man’s reflections on truth, history and literature pale next to the plot’s more immediate concerns: spirituality, violence against women, and migration, to name a few.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Wonderfully weaving together realism and fantasy. . . . [Miller] shows us that magic is inherent in humanity. . . . Perhaps Miller’s greatest feat is the incorporation of the decorous yet often unused second person; sparingly used, it draws in the audience and demonstrates the special relationship between Adamine and Mr. Writer Man as well as the relationship between Miller and his readers. This poetic and enchanting work will appeal to readers of Caribbean literature and literary fiction.” \u003cstrong\u003e—\u003cem\u003eLibrary Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eThe Last Warner Woman\u003c\/em\u003e] is about the inconsistencies between what we say, what we hear, and what we do with what we say and hear. . . . Miller portrays intriguing characters with perfect pitch in both narrative nuance and Adamine’s colorful patter.” \u003cstrong\u003e—\u003cem\u003eBooklist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Miller’s well-crafted prose and the originality of his subject make this an entirely gratifying novel. I didn't want to stop reading: from the very first sentence I was fascinated and knew that I was in the hands of a gifted writer. In the finely portrayed characters of Pearline and Adamine and the vivid details of the rural setting Kei Miller illuminates and gives voice to a neglected piece of Jamaican and, indeed, human history. In addition, the skillfully handled shift in voices, the presence of ‘Mr. Writer Man,’ the poignant displacement of Adamine and the narrative's resonant movement between the Caribbean and England combine to make this a notable addition to the postcolonial literary tradition, a work reminiscent of Jean Rhys and George Lamming. This novel is a rare pearl, one that I will cherish and delight in for a long time.” \u003cstrong\u003e—Margaret Cezair-Thompson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A novel for those who are prepared to be teased, willing to roll their tongues around the colorful patois and willing to suspend disbelief, relinquishing their need for things to turn out as they ought to, in exchange for exploring things as they might be.” \u003cstrong\u003e—\u003cem\u003eScotland on Sunday\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Miller isn’t just a writer . . . he is a true alchemist, and he has produced a thing of beauty here.” \u003cstrong\u003e—\u003cem\u003eHerald (UK)\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Last Warner Woman\u003c\/em\u003e is a ‘splendocious’ story, told ‘crossways.’ . . . Miller, who is also a poet, circles around his truths, teases out just-right words to hint at elusive meanings, and ends the novel by acknowledging that in every book ‘the story within breathes its own breath.’ Wonderfully evocative images and Jamaican words dot Miller's mesmerizing novel, which enthralls, even as it confronts its readers.” \u003cstrong\u003e—\u003cem\u003eStar Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“To enter the dream of this story is to get caught up in a wonderful web.” \u003cstrong\u003e—\u003cem\u003eNewPages\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Miller handles these various narrators with finesse by maintaining a firm grasp on their voices; he knows his characters well, and like a Warner, their messages boom forth clearly. . . . And magically, despite the repetition and the misery and hardship within, you're compelled to stand beside the characters throughout because each voice is real and present, each take honest in its own way.” \u003cstrong\u003e—\u003cem\u003eBaltimore City Paper\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Last Warner Woman\u003c\/em\u003e features compelling settings, masterful storytellers, a mystery, colorful characters, and language that resonates with beauty.” \u003cstrong\u003e—\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Last Warner Woman\u003c\/em\u003e ranks as one of the best things I’ve read so far this year. It had drama, intrigue, characters to love, characters to hate.” \u003cstrong\u003e—\u003cem\u003eInsatiable Booksluts\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707774862,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/The_Last_Warner_Woman.jpg?v=1515109098"},{"product_id":"the-mountain-in-the-sea","title":"The Mountain in the Sea","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Victor Hernández Cruz\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 1, 2006 • 6 x 9 • 136 pages • 978-1-56689-191-2\u003c\/h5\u003e\n\u003ch4\u003eA strong, richly lyric synthesis of Spanish, North African, Caribbean, and North and South American cultures.\u003c\/h4\u003e\n\u003cp\u003eRenowned for his pioneering mixture of both Spanish and English in poetry and prose, Cruz has now incorporated Arabic language and North African culture into his unique poetic idiom. As Cruz builds poetic bridges between Arab-influenced Spain, Spanish influenced North Africa, African influenced Puerto Rico, and an electrified Latino New York, he uncovers the confluence between their various geographies, histories, languages, and mythologies.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVictor Hernández Cruz is the author of several collections of poetry including \u003cem\u003eThe Mountain in the Sea\u003c\/em\u003e and \u003cem\u003eIn the Shadow of Al-Andalus.\u003c\/em\u003e Featured in Bill Moyers’s \u003cem\u003eLanguage of Life\u003c\/em\u003e series, Cruz’s collection \u003cem\u003eMaraca\u003c\/em\u003e was a finalist for the Lenore Marshall and Griffin Poetry Prizes. He divides his time between Morocco and his native Puerto Rico.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“[Cruz’s work] proves the extraordinary range of this great, enduring poet, whose articulately persuasive humor and intelligence bear persistent witness to a meld of peoples.” \u003cstrong\u003e—Griffin Poetry Prize citation\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707784846,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/The_Mountain_in_the_Sea.jpg?v=1515109449"},{"product_id":"the-revolutionaries-try-again","title":"The Revolutionaries Try Again","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Mauro Javier Cardenas\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 6, 2016 • 6 x 9 • 296 Pages • 978-1-56689-446-3\u003c\/h5\u003e\n\u003ch4\u003eThree childhood friends reunite to transform Ecuador only to find their idealism has succumbed to the cynicism of their fathers.\u003c\/h4\u003e\n\u003cp\u003eExtravagant, absurd, and self-aware, \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e plays out against the lost decade of Ecuador’s austerity and the stymied idealism of three childhood friends—an expat, a bureaucrat, and a playwright—who are as sure about the evils of dictatorship as they are unsure of everything else, including each other.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eMauro Javier Cardenas grew up in Guayaquil, Ecuador, and graduated with a degree in economics from Stanford University. Excerpts from his first novel, \u003cem\u003eThe Revolutionaries Try Again,\u003c\/em\u003e have appeared in \u003cem\u003eConjunctions,\u003c\/em\u003e the \u003cem\u003eAntioch Review, Guernica, Witness,\u003c\/em\u003e and \u003cem\u003eBOMB.\u003c\/em\u003e His interviews and essays on\/with László Krasznahorkai, Javier Marías, Horacio Castellanos Moya, Juan Villoro, and António Lobo Antunes have appeared in \u003cem\u003eMusic \u0026amp; Literature,\u003c\/em\u003e the \u003cem\u003eSan Francisco Chronicle, BOMB,\u003c\/em\u003e and the \u003cem\u003eQuarterly Conversation.\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Cardenas’s exuberant debut novel, \u003cem\u003eThe Revolutionaries Try Again,\u003c\/em\u003e profiles a group of Ecuadorans trying, some harder than others, to change the political situation in their country. Stuffed with dizzying leaps from character to character, from street protests to swanky soirees, and from lengthy uninterrupted interior monologues to rapid-fire dialogues, the novel also includes some wonderful long sentences.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is an original, insubordinate novel, like his grammar, like his syntax, but fabulously, compellingly readable, with endearing characters like Leopoldo’s grandma, who would tie a white plastic bag on her head like a wig and perform \u003cem\u003eMacbeth\u003c\/em\u003e for him at her farm, proclaiming in unintelligible English, ‘Blo win, crack you cheek, rage! Blo!’” \u003cstrong\u003e\u003cem\u003e—New York Times Sunday Book Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The Ecuadorian writer has delivered his debut, \u003cem\u003eThe Revolutionaries Try Again.\u003c\/em\u003e While it is, indeed, very much a novel rather than a political manifesto—it depicts four childhood friends as they regroup in adulthood and aim to change their country’s politics for the better—Cardenas reveals, via some stunning and shapeshifting prose, that politics in Ecuador isn’t as straightforward as it appears on its surface, and very often it amounts to little more than a vain exercise in egobuilding and self-fantasy.” \u003cstrong\u003e\u003cem\u003e—Kenyon Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mauro Javier Cardenas’s début, \u003cem\u003eThe Revolutionaries Try Again,\u003c\/em\u003e tells the tale of three Ecuadorian friends—one living in exile in San Francisco, the other two still in Guayaquil—who come together in a quixotic attempt to take the country’s Presidency. ‘Everyone thinks they’re the chosen ones,’ one character reminds another, and Cardenas’s gift is to show, through long, brilliant sentences, the charm of inaction and delinquency.” \u003cstrong\u003e\u003cem\u003e—New Yorker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Drawing on everything from pop culture to Ecuadorian politics, and posing questions about faith, morality, and devotion to one’s country and ideals (all expressed in a deviant postmodern style), Cardenas’s spellbinding book should appeal to McOndo devotees and Bolaño fans alike. But \u003cem\u003eThe Revolutionaries\u003c\/em\u003e taps into something more comprehensive and universally conscientious. . . . It’s a novel that redefines the Latin American identity in a world characterized by social technology and ever-blurring ethnic boundaries.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“There’s an infectious warmth in the recollections of the friends’ school days, and the prose often draws blood.” \u003cstrong\u003e\u003cem\u003e—New Yorker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Each story’s hook is keenly sharpened, pulling you into the center of a tortured psyche . . . Revelations come through a steady drip of plot tinged with unease, with each story wholly delivered and wholly strange.” \u003cstrong\u003e\u003cem\u003e—Stake\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Exuberant, cacophonous. . . . Cardenas dizzyingly leaps from character to character, from street protests to swanky soirees, and from lengthy uninterrupted interior monologues to rapid-fire dialogues and freewheeling satirical radio programs, resulting in extended passages of brilliance.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Even if Cardenas isn’t quite ready to run for office in Ecuador, \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e is a rare book—it’s political without drowning in politics, it’s innovative without languishing in theatrics, and it also blends the historically accurate with the personal. It’s part satire, part social commentary, and 100% a good story with rich, compelling characters.”\u003cstrong\u003e\u003cem\u003e —Kirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas displays an ambitious intelligence that eschews easy answers. His inclusive sympathy is balanced by an unsparing eye. By the end, Antonio questions his own motives for returning, asking himself ‘how are we to be humans in a world of destitution and injustice.’ A strong debut written with nuance and authority.” \u003cstrong\u003e\u003cem\u003e—Kirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This inventive novel shares some of the revolutionary spirit of Ecuador’s ill-served people who, as one character puts it, ‘want to trounce the same old narratives.’” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas brilliantly transforms his ‘book of ideas’ into an unraveling interrogation into Antonio’s past, employing unorthodox paragraph structures that slip seamlessly between long passages of fast-paced stream-of-consciousness, unexpected song lyrics, and sudden dialogue.” \u003cstrong\u003e\u003cem\u003e—Booklist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An unhinged novel about three childhood friends contemplating a presidential run against the crooked Ecuadorian president Abdalá ‘El Loco’ Bucaram. This is double-black-diamond high modernism, so do some warm-up stretches before you crack this baby.” \u003cstrong\u003e\u003cem\u003e—Shelf Awareness\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas’s \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e is a delirious account of several Ecuadorians attempting to wrest control of their country from the hands of brutal oligarchs and buffoonish populists.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The style of this book is as ambitious as its territory, moving fluidly from voice to voice, from luminous long sentences to syntactical fragmentation. Cardenas, an Ecuadoran now living in San Francisco, has made the Nabokovian move of claiming adoptive English as his own, and he gives us many beautifully eloquent moments.” \u003cstrong\u003e\u003cem\u003e—San Francisco Chronicle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Told in winding sentences propelled by interjections and an almost manic energy, \u003cem\u003eThe Revolutionaries Try Again \u003c\/em\u003e. . . is both ambitious and irreverent, its language as suffused with childhood jest as with profound, urgent questions of purpose.” \u003cstrong\u003e\u003cem\u003e—San Francisco Chronicle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Then along came \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e. . . a high-octane, high-modernist debut novel from the gifted, fleet Mauro Javier Cardenas.” \u003cstrong\u003e\u003cem\u003e—Harper’s\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The novel veers toward the nonlinear and the fragmentary, gesturing at the brokenness and inadequacy of available narratives and their inability to represent the tangled, messy realities of lives caught in the snare of failed neoliberalism. From this brokenness emerges an exuberant, virtuosic language that encompasses song, colloquial speech in English and Spanish, rapid-fire dialogues, fragmentary, elegiac interior monologues, narrative in verse form, and two chapters written exclusively in Spanish.” \u003cstrong\u003e\u003cem\u003e—Guernica\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e dissects a decade of Ecuadorian austerity and idealism through often jarring and always stunning literary montage.” \u003cstrong\u003e\u003cem\u003e—The Millions\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas uses the trappings of Modernism to traditionally Modernist ends—mirroring the workings of consciousness, and depicting a society, reeling from violence, that has lost faith in itself—but \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e is set in a country and time that we don’t normally associate with Modernism: the Ecuador of the mid-90s, in the months leading up to the demagogue ‘El Loco’ Bucaram’s election.” \u003cstrong\u003e\u003cem\u003e—Electric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like Tulathimutte in particular, Cardenas is conjuring a modish and streamlined maximalism that soaks postmodernism and hyperrealism in multicultural and social media colloquialism. \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e could be spun as the \u003cem\u003eThe Recognitions\u003c\/em\u003e of our age, with Otto reborn as Antonio. In any case, it’s revolutionary.” \u003cstrong\u003e\u003cem\u003e—Culture Trip\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s a particularly galvanizing novel to read in the aftermath of Election Day as it considers the questions—what do we owe? and to whom to we owe it? Of course, \u003cem\u003eThe Revolutionaries Try Again . . .\u003c\/em\u003e is much more than that: experimental, funny, many tongued.” \u003cstrong\u003e\u003cem\u003e—Brooklyn Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Like its cast of characters, the novel is colorful and disarming, bristling with idealism and disillusionment and profoundly embattled intelligence; like the country it brings to life without ever fully inhabiting, it’s noisy and claustrophobic and a dizzying thrill to get lost in.” \u003cstrong\u003e\u003cem\u003e—Electric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Antonio returns to Ecuador with dreams of saving his country from corrupt oligarchs and (also corrupt) populist demagogues; but everybody feels like they’ve been chosen, and Cardenas picks brilliantly at this scab—the tension between the call to service and the desire for more, the strangeness of having seen miracles while knowing the power of mass delusion.” \u003cstrong\u003e\u003cem\u003e—The Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas’s first novel \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e has the trappings of a ravishing debut: smart blurbs, a brilliant cover, a modernist narrative set amongst political turmoil in South America, and a flurry of pre-pub excitement on Twitter.” \u003cstrong\u003e\u003cem\u003e—The Millions\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“All told, \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e is a remarkable achievement; Cardenas’ expansive voice and vision are too brilliant to let pass you by.” \u003cstrong\u003e\u003cem\u003e—BuzzFeed\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The first time a so-called industry person asked me about \u003cem\u003eThe Revolutionaries Try Again,\u003c\/em\u003e a novel of voices in an altered state of recollection, I said it was about alien chickens. Somewhere in the clouds the ghost of Gombrowicz nodded in approval. Somewhere in Minnesota my editor is nodding in disapproval.” \u003cstrong\u003e\u003cem\u003e—Flavorwire\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Its style is ambitious, yes, entirely unique, one could even say difficult if one were so inclined, but the most difficult theme of the novel for an American audience is the degree to which we American readers are also complicit in the degraded existence of the poor and oppressed below our southern border.” \u003cstrong\u003e\u003cem\u003e—The Scofield\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Filtering the saga through Cardenas’s defiantly experimental writing style, means readers are left with an extraordinary, unapologetic book, an almost unbelievable debut.” \u003cstrong\u003e\u003cem\u003e—Music \u0026amp; Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“An amazing book rife with intelligence and love for the potential of one’s homeland.” \u003cstrong\u003e\u003cem\u003e—Electric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“All told, \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e is a remarkable achievement; Cardenas’ expansive voice and vision are too brilliant to let pass you by.” \u003cem\u003e\u003cstrong\u003e—BuzzFeed\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Followers of Latin American literature won’t want to miss the American debut of Ecuadorian writer Mauro Javier Cardenas, \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e.” \u003cstrong\u003e\u003cem\u003e—BookPage\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The prose [in \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e] darkens into avant-garde genius.” \u003cstrong\u003e\u003cem\u003e—Artforum\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This dazzling debut by Mauro Javier Cardenas reads like António Lobo Antunes having a cup of coffee (or a beer) with Garcia Marquez.” \u003cstrong\u003e\u003cem\u003e—Literary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e, Cardenas explores the many facets of friendships, the things we leave unsaid, and all of the ways nostalgia acts as a fun house mirror on our memories.” \u003cstrong\u003e\u003cem\u003e—Literary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas’ fiction does compute, though not by traditional means. It speaks instead like a wise but fevered man—exalting in digression, pining for something lost, planting profundity amid little clouds of chaos.” \u003cstrong\u003e\u003cem\u003e—Dallas News\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e] is stylish, daring, dense and polyphonic; voices and ideas are braided together seamlessly. It is also a Latin American novel written in English by a native of Ecuador and it’s astounding.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Mauro Javier Cardenas’ debut novel \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e . . . has evoked comparisons to great Latin American novels like Roberto Bolaños \u003cem\u003eThe Savage Detectives\u003c\/em\u003e and Julio Cortázar’s \u003cem\u003eHopscotch.” \u003c\/em\u003e\u003cstrong\u003e\u003cem\u003e—KQED\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“He’s a tremendously skilled storyteller and monologuist; his writing is so exuberant.” \u003cstrong\u003e—Paul Yamazaki\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e, Mauro Javier Cardenas has taken the edifice of arch modernism and suffused it with tender details of a boyhood in Ecuador. The long, unraveling sentences reveal an extraordinarily musical ear. This is a debut that will last.” \u003cstrong\u003e—Karan Mahajan\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e is a daring novel that pits youthful idealism against persistent and inescapable corruption. Mauro Javier Cardenas is an exciting new voice in Latin American literature, and his debut crackles with an exuberance that readers of Valeria Luiselli, Julio Cortázar, and Horacio Castellanos Moya will love.” \u003cstrong\u003e—Stephen Sparks\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Beware of this writer! The book you’re holding bites. If the reader dares enter after this warning, he’ll never forget it, and the memory will stay just as sharp as the humor and velocity in the stories themselves. Incisive, forceful, and written in an English that’s fiercely subversive, \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e evokes a pair of great Latin American novels: Bolaño’s \u003cem\u003eThe Savage Detectives\u003c\/em\u003e and Cortázar’s \u003cem\u003eHopscotch\u003c\/em\u003e. But this book goes even further: it’s the novel we’ve been waiting for, witness to the most recent wave of immigration from Latin America to the US, told through the eyes of a privileged class that forces their conationals out of their countries. It’s been ten years since a book this alive, this incandescent, has fallen into my hands.”\u003cstrong\u003e —Carmen Boullosa\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Irreverent, shape-shifting, and wise, \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e is as relentless in its indictment of political depredation as it is heartfelt in its devotion to the friendships and wild idealisms of youth. This forceful debut novel is a blast of fresh air, and I had a blast reading it.” \u003cstrong\u003e—Justin Taylor\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“What begins as an Ecuadorian political farce in Mauro Javier Cardenas’s \u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e quickly becomes the most exciting experimental novel in years—a vision so uncompromising in form and sensation that readers will leave sighing, swearing, and returning to page one.” \u003cstrong\u003e—Tony Tulathimutte\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Revolutionaries Try Again\u003c\/em\u003e transfixes on every page—across every world-devouring sentence—with a rigorous, incandescent language rarely seen in contemporary fiction. It’s a bit early to say, but Cardenas’s debut is either the jubilant beginning or the rapturous end of the Latin American novel: a revelation of a book.” \u003cstrong\u003e—Hal Hlavinka, Community Bookstore\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707792014,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/The_Revolutionaries_Try_Again_a735be34-b26d-42c6-a90e-a8df65d7abba.jpg?v=1515110358"},{"product_id":"the-story-of-my-teeth","title":"The Story of My Teeth","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003eA novel by Valeria Luiselli\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 15, 2015 • 5.5 x 8.25 • 192 Pages • 978-1-56689-409-8\u003c\/h5\u003e\n\u003ch4\u003eBon vivant, world traveler, auctioneer—the story of Highway and his teeth is like Johnny Cash meets Robert Walser in Mexico.\u003c\/h4\u003e\n\u003cp\u003eHighway is a late-in-life world traveller, yarn spinner, collector, and legendary auctioneer. His most precious possessions are the teeth of the ‘notorious infamous’ like Plato, Petrarch, and Virginia Woolf. Written in collaboration with the workers at a Jumex juice factory, \u003cem\u003eTeeth\u003c\/em\u003e is an elegant, witty, exhilarating romp through the industrial suburbs of Mexico City and Luiselli’s own literary influences.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eValeria Luiselli was born in Mexico City in 1983 and grew up in South Africa. A novelist (\u003cem\u003eFaces in the Crowd\u003c\/em\u003e) and essayist (\u003cem\u003eSidewalks\u003c\/em\u003e), her work has been translated into many languages and has appeared in publications including the \u003cem\u003eNew York Times,\u003c\/em\u003e the \u003cem\u003eNew Yorker, Granta,\u003c\/em\u003e and \u003cem\u003eMcSweeney’s.\u003c\/em\u003e In 2014, \u003cem\u003eFaces in the Crowd\u003c\/em\u003e was the recipient of the \u003cem\u003eLos Angeles Times\u003c\/em\u003e Art Seidenbaum Award for First Fiction and the National Book Foundation’s 5 Under 35 award. \u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Story of My Teeth\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eKirkus\u003c\/em\u003e, \"Best Books of the 21st Century (So Far)\"\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eLiterary Hub\u003c\/em\u003e, “10 Best Translated Novels of the Decade”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003ci\u003eStory of My Teeth,\u003c\/i\u003e a comic memoir of an auctioneer—part Gogol and part Steven Millhauser—dares to throw in a lesson or two on formal logic into each lot.” \u003cb\u003e\u003ci\u003e—Los Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“One of the most unforgettable images in any book this year is that of Gustavo ‘Highway’ Sánchez Sánchez, the protagonist of Luiselli’s delightfully unclassifiable novel, walking around the streets of Mexico City, smiling at people with the teeth of Marilyn Monroe installed in his mouth. . . . Surprising and charming. . . . It’s difficult not to follow wherever it takes you.” \u003cb\u003e\u003ci\u003e—Publishers Weekly\u003c\/i\u003e\u003cem\u003e,\u003c\/em\u003e starred review\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Come for the absurdist comedy, stay for the references to great writers and philosophers and see how in on the joke you really are.” \u003cb\u003e\u003ci\u003e—Vulture\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is a novel as playful as it is profound.” \u003ci\u003e\u003cb\u003e—Believer Logger\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is more than just a novel . . . as all novels that impact our lives are. It is a testament to not only the work that goes into translation, but also to the value of storytelling in a world that sometimes seems to commodify authenticity through our all-access lifestyle.” \u003ci\u003e\u003cb\u003e—Three Percent\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is] an austere tale that offers some wry observations about art and the art world in Mexico City. Highly recommend.” \u003cb\u003e\u003ci\u003e—Los Angeles Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[Luiselli] has . . . conjured one of the most remarkable novels of 2015, a novel that illuminates the familiar problems of identity and selfhood by re-presenting them in a bracingly defamiliarized light.” \u003cb\u003e\u003ci\u003e—Kenyon Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003e[The Story of My Teeth]\u003c\/i\u003e was a joy to read.” \u003cb\u003e\u003ci\u003e—Kaaterskill Basin Literary\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Forms and genres collide in this often hilarious experimental fiction from one of our most consistent young writers.” \u003cb\u003e\u003ci\u003e—Flavorwire\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Playfully brilliant.” \u003ci\u003e\u003cb\u003e—BuzzFeed\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is a brilliant fable from one of the most talented storytellers writing today.” \u003cb\u003e\u003ci\u003e—Largehearted Boy\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This boggling and enchanting collaborative novel about a man who believes he has had Marilyn Monroe’s literal teeth implanted into his mouth began as a bit of art gallery catalog copy sponsored by a large juice company.” \u003cb\u003e\u003ci\u003e—National Post Canada\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“It’s not every writer who is brave enough to share stage in her own work with her translator—and a group of employees at a juice factory—but Valeria Luiselli’s got balls as well as serious talent.” \u003cb\u003e\u003ci\u003e—Brightest Young Things\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Though playful and unruly, her fiction feels surprisingly warm and old-fashioned.” \u003cb\u003e\u003ci\u003e—Kirkus,\u003c\/i\u003e cover feature\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A lively, loopy experimental novel rich with musings on language, art, and, yes, teeth. . . .Tthe whole book is a kind of extended commentary on how possessions acquire value largely through the stories we tell about them. . . . A clever philosophical novel that, as the author puts it, has \"less to do with lying than surpassing the truth.” \u003cb\u003e—\u003ci\u003eKirkus,\u003c\/i\u003e starred review\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is an elegant, witty romp through the industrial suburbs of Mexico City and Luiselli’s own literary influences.” \u003cb\u003e\u003ci\u003e—Shelf Awareness\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e] is brilliant, and has a great story; it began as a commissioned work written in collaboration with workers at a Jumex juice factory in Mexcio.” \u003cb\u003e\u003ci\u003e—Publishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“There’s big buzz from booksellers around a small press hit, translated from the Spanish, \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e (Coffee House, Sept.) by Valeria Luiselli. Jeremy Garber, events coordinator, Powell’s in Portland, Ore., casts a vote for \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e. ‘It’s dazzling, it’s tremendous.’” \u003cb\u003e\u003ci\u003e—Publishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is a rich, provocative meditation on authenticity, heritage and personality.” \u003cb\u003e\u003ci\u003e—Publisher’s Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This highly inventive novel is narrated by a garrulous auctioneer who invents “hypertrue” stories for the objects he sells. . . . A work of immense charm and originality, written in vivid, witty prose.” \u003cb\u003e\u003ci\u003e—New Yorker\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Training as an auctioneer, Highway hopes these and other skills will help him find the perfect set of teeth. If that sounds like an odd plot, I can only promise you that things get delightfully odder. . . . Luiselli’s novel arrives in the United States from tiny Coffee House Press with considerable momentum behind it.” \u003cb\u003e\u003ci\u003e—The Guardian\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s unstintingly imaginative tale perhaps works as a parable for the way works accrue value in the art world.” \u003cb\u003e\u003ci\u003e—The Guardian\u003c\/i\u003e (UK)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e, translated by Christina MacSweeney, is the most inventive and invigorating book I have read this year. . . . It manages to be intelligent and experimental without an ounce of pretension.” \u003ci\u003e\u003cb\u003e—Three Percent\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Besides its engaging characters and plot, there’s the equally compelling backstory of this book, which Luiselli wrote in collaboration with employees of Mexico’s Jumex, an industrial giant that produces and distributes juice.” \u003cb\u003e\u003ci\u003e—The Guardian\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Prefigured by her excellent book of essays, \u003ci\u003eSidewalks, The Story of My Teeth\u003c\/i\u003e is playful, attentive and very smart without being for a minute pretentious. It’s Walter Benjamin without tears—sunnier, more casual and more nimble.” \u003cb\u003e\u003ci\u003e—New York Times Sunday Book Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This giddy, witty, idiosyncratic novel . . . is a jubilant celebration of the act of storytelling. . . . Ms. Luiselli persuasively suggests that our lives would be empty vessels, hardly worth bidding on, without the ‘stories that give them value and meaning.’” \u003cb\u003e\u003ci\u003e—Wall Street Journal\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth’s\u003c\/i\u003e playful re-contextualizations and detours are bound to leave you puzzled at some point—perhaps even many. . . . The book is a delightfully weird meander into art, salesmanship, Mexican culture, and experimental dentistry.” \u003cb\u003e\u003ci\u003e—Beijing Bookworm\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is a playful, philosophical funhouse of a read that demonstrates that not only isn’t experimental fiction dead, it needn’t be deadly, either.” \u003cb\u003e—NPR\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The story of Luiselli’s teeth is positively constructive, even warm. Instead of collapsing and decomposing fragments, \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e reaches toward a world composed of fragments, the creative process which Highway calls—in a moment of clarity—a ‘postcapitalist, radical recycling . . . that would save the world from its existential condition as the garbage can of history.’” \u003ci\u003e\u003cb\u003e—Los Angeles Review of Books\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Although buoyant, Luiselli’s work never seems flippant, perhaps because of her precise prose style. . . . Linear at first glance, it soon opens out into a world of stories, like a mouth with one tooth from every artist in the world.” \u003cb\u003e\u003ci\u003e—Chicago Tribune\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eThe Story of My Teeth is\u003c\/i\u003e] proof that Valeria Luiselli is one of the most exciting new writers working today.” \u003cb\u003e\u003ci\u003e—Los Angeles Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This charmingly slippery slip of a book, packed with fantastical allusions, reminds us that the world’s great stories can be ours for a very reasonable price.” \u003cb\u003e\u003ci\u003e—San Francisco Chronicle\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A perfectly defined universe” \u003cb\u003e\u003ci\u003e—Clash\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“If her novel is a map, the route it will suggest for a reader who possesses few existing landmarks to Mexican culture will be quite different than that laid out for a reader with many, firmly planted ones. But maybe those routes will all lead to a similar place—one of shared enjoyment, if not shared concerns about a particular place, a Mexico made more of fiction than of fact.” \u003cb\u003e\u003ci\u003e—Americas Quarterly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“What Highway (and Luiselli) is really hawking is fantasy, a sort of shared experience of faith in the improbable—the art of storytelling, essentially, to which \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e pays manic veneration.” \u003cb\u003e\u003ci\u003e—Globe and Mail\u003c\/i\u003e (Canada)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Wonderful, unusual.” \u003cb\u003e\u003ci\u003e—Paris Review Daily\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e defies classification, and underscores the power of storytelling and the importance of reading.” \u003cb\u003e\u003ci\u003e—Virginia Quarterly Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This boggling and enchanting collaborative novel about a man who believes he has had Marilyn Monroe’s literal teeth implanted into his mouth began as a bit of art gallery catalog copy sponsored by a large juice company.” \u003cb\u003e\u003ci\u003e—National Post\u003c\/i\u003e (Canada)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In a delicately layered, wryly funny fashion, Luiselli is exploring the actual value of telling made-up stories.” \u003cb\u003e\u003ci\u003e—HuffPost\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“When reading it, I had no idea of where it was going, in the best possible way. I mean I felt like it encompassed such a wide shift in tone. There were comic moments; there were incredibly tragic moments; there were surreal moments.” \u003ci\u003e\u003cb\u003e—Vol. 1 Brooklyn\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“The ever inventive, always incisive Valeria Luiselli presents a mosaic of fable, comedy, drama, and essay.” \u003cb\u003e—\u003ci\u003eLargehearted Boy\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e“Luiselli riffs on art, literature, and city life; the result is a warm, deeply unpredictable, and very humanistic novel, with a fascinatingly memorable character at its heart.” \u003ci\u003e\u003cb\u003e—Men’s Journal\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“As strange and beautiful as the novel itself is the backstory to its creation—a tale that involves a juice factory, a world-class art collection, and a rather unlikely collaboration.” \u003ci\u003e\u003cb\u003e—Studio 360\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“This kind of writing—direct and gentle, affectionate and satirical, precise and imaginative, memorable and efficient—appears throughout, and the character of Gustavo is brought to life with exquisite imaginative power and beautifully judged tics and cadences. . . . It is a sad, beautiful and brilliant book. It will endure.” \u003cb\u003e—\u003ci\u003eThe National (UK)\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“As Mexico takes centre stage at London’s Book Fair Matthew Sweet talks to two of the country's award-winning writers. Valeria Luiselli’s new novel \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e explores the meaning of home through the antics of an auctioneer, told in his own hyperbolic fashion, who has decided views on the meaning of value and worth in life and art.” \u003cb\u003e—BBC\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli's delightfully bizarre novel follows Highway, a world traveler and renowned auctioneer, who collects teeth—specifically, the teeth of influential thinkers, like Plato, Marilyn Monroe and Virginia Woolf.” \u003cb\u003e—MPR\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“It’s not every writer who is brave enough to share the stage in her own work with her translator—and a group of employees at a juice factory—but Valeria Luiselli’s got balls as well as serious talent.” \u003cb\u003e—\u003cem\u003eBrightest Young Things\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli offers a bright new voice in fiction, exploring the role of story in art through her quirky protagonist, Gustavo Sánchez Sánchez. . . . Playing with different ways to tell story, \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is sly, endearing, refreshing, and ever broadening.” \u003ci\u003e\u003cb\u003e—Bookshop Santa Cruz\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e will leave you wanting more of Luiselli’s sense of humor and grace, her perfect ear for entertainment and epiphany. But more importantly, this novel will change the way you look at writing and stories—and will reveal that in the end, what is imagined is as important as anything else.” \u003ci\u003e\u003cb\u003e—BookPage\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Wonderful and strange, \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e transgresses against straightforward storytelling by witnessing and remixing to make something so fresh and new that it defies easy description. Just know that it dazzles on every page. I love this book.” \u003cb\u003e—Brazos Bookstore\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[\u003ci\u003eThe Story of My Teeth\u003c\/i\u003e] reminds us of the power and sway of great stories, especially those we tell ourselves that, by sheer persistence, we come to believe!” \u003cb\u003e—Green Apple Books on Park\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“The hero of this ambitious fun-house of a novel set in Mexico is Gustave ‘Highway’ Sanchez Sanchez, an auctioneer, journeyman, and fabulist who’s had Marilyn Monroe’s teeth implanted in his mouth. Chew on that.” \u003ci\u003e\u003cb\u003e—O Magazine\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“If you’ve found yourself in a reading rut, this just might be one of the most interesting books you have yet to read.” \u003ci\u003e\u003cb\u003e—Princeton Library\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli has proven in both her novels that she’s willing to break novelistic conventions to simultaneously tell and deconstruct her stories. If you don’t mind some post-postmodernism with your misadventures, \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e is well worth bidding on.” \u003ci\u003e\u003cb\u003e—PANK\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Shuttling between the quotidian and the transcendent, between the earthly and the intellectual, all the while disrupting those very tenuous categories, is precisely what makes \u003ci\u003eThe Story of My Teeth\u003c\/i\u003e so engaging.” \u003ci\u003e\u003cb\u003e—Slant Magazine\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“A fundamental openness and curiosity make Luiselli’s work fresh and exciting. She is serious in her engagement with art, literature, and society without being arrogant or sententious—she is part of all those games, and is happy to acknowledge it.” \u003cb\u003e\u003ci\u003e—World Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707795022,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/StoryOfMyTeeth-Web.jpg?v=1514951620"},{"product_id":"wise-fish","title":"Wise Fish: Tales in 6\/8 Time","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoems by Adrian Castro\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 1, 2005 • 6 x 9 • 94 pages • 978-1-56689-172-8\u003c\/h5\u003e\n\u003ch4\u003eA lyrical dance of English, Spanish, and African dialects infuses these poems of myth and migration.\u003c\/h4\u003e\n\u003cp\u003eLaced with Afro-Caribbean history and myth and interspersed with Spanish, Yoruba, and Lukumi dialects, these poems create a poetic atlas of cultures as they document the centuries-long, open-sea migrations from Africa to the Caribbean to the Florida coast. 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He is the author of \u003cem\u003eCantos to Blood \u0026amp; Honey, Wise Fish,\u003c\/em\u003e and, most recently, \u003cem\u003eHandling Destiny.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Open book, hear music.” \u003cstrong\u003e—Bob Holman\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43707818702,"sku":"","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Wise-Fish-RGB.jpg?v=1499211136"},{"product_id":"comemadre","title":"Comemadre","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Roque Larraquy, translated by Heather Cleary\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 10, 2018 • 5 x 7.75 • 152 pages • 978-1-56689-515-6\u003c\/h5\u003e\n\u003ch4\u003eLiterary Latin American \u003cem\u003eFlatliners:\u003c\/em\u003e a smart, engrossing, and darkly funny novel experimenting with where life and love begin and end.\u003c\/h4\u003e\n\u003cp\u003eOn the outskirts of Buenos Aires in 1907, Doctor Quintana pines for head nurse Menéndez while he and his colleagues embark on a grisly series of experiments to investigate the line between life and death. One hundred years later, a celebrated artist goes to extremes in search of aesthetic transformation, turning himself into an art object. How far are we willing to go, Larraquy asks, in pursuit of transcendence? The world of \u003cem\u003eComemadre\u003c\/em\u003e is full of vulgarity, excess, and farce: strange ants that form almost perfect circles, missing body parts, obsessive love affairs, and flesh-eating plants. Here the monstrous is not alien, but the consequence of our relentless pursuit of collective and personal progress.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eRoque Larraquy is an Argentinian writer, screenwriter, professor of narrative and audiovisual design, and the author of two books, \u003cem\u003eLa comemadre\u003c\/em\u003e and \u003cem\u003eInforme sobre ectoplasma animal\u003c\/em\u003e. \u003cem\u003eComemadre\u003c\/em\u003e will be his first book published in English.\u003cbr\u003e\u003cbr\u003eHeather Cleary’s translations include César Rendueles’s \u003cem\u003eSociophobia,\u003c\/em\u003e Sergio Chejfec’s \u003cem\u003eThe Planets\u003c\/em\u003e and \u003cem\u003eThe Dark,\u003c\/em\u003e and a selection of Oliverio Girondo’s poetry for New Directions.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eLonglisted for the 2018 National Book Award for Translated Literature \u003cbr\u003eLonglisted for the Best Translated Book Award\u003cbr\u003e\u003cem\u003ePublishers Weekly,\u003c\/em\u003e Best Books of 2018 in Fiction\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Shuttling between B-movie horror and exceedingly dark comedy, the novel is somehow both genuinely scary and genuinely funny, sometimes on the same page—a wickedly entertaining ride.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“Grotesque, outrageous, and insanely funny, [\u003cem\u003eComemadre\u003c\/em\u003e] has almost no equal in literature.” \u003cem\u003e\u003cstrong\u003e—BOMB\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Sad, funny, and pitch-perfect.” \u003cem\u003e\u003cstrong\u003e—World Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The prose is distilled but rich—like dark chocolate.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Through his callous, narcissistic narrators, Larraquy interrogates the ethics of art and science, and the inhumanity we sanction in the name of intellectual achievement. Slyly funny and viscerally affecting, in a fluid translation by Heather Cleary, \u003cem\u003eComemadre\u003c\/em\u003e is the medicine-meets-art horror story of my dreams.” \u003cem\u003e\u003cstrong\u003e—Huffington Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The absurd is planted and buried throughout \u003cem\u003eComemadre,\u003c\/em\u003e creating a sense of constant doubt and uncertainty. The writing is sparse and evocative, even as it takes considerable risks. The effect accomplishes a great deal in short spaces.” \u003cem\u003e\u003cstrong\u003e—Full Stop \u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eComemadre\u003c\/em\u003e creates a full circle of the grotesqueries humans inflict upon one another in pursuit of immortality. . . . Read Larraquy to experience a strange waking dream from which there is no escape.” \u003cem\u003e\u003cstrong\u003e—Arkansas International\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“It’s a brief novel, but its impact is massive.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A mutilated novel about the art of mutilating bodies.” \u003cem\u003e\u003cstrong\u003e—Book Post\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In this dark, dense, surprisingly short debut novel by the Argentinian author, we’re confronted with enough grotesqueries to fill a couple Terry Gilliam films and, more importantly, with the idea that the only real monsters are those that are formed out of our own ambition.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Comemadre is a powerful critique of our administered, bureaucratic world, full of petty men wielding power with impunity.” \u003cstrong\u003e\u003cem\u003e—Three Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Layered without growing dense, the book is crisply comic, scenes punctuated like punchlines. That it all happens within a mere 130 pages is a sort of magic trick—the dizzying kind where a body gets sawed in half.” \u003cem\u003e\u003cstrong\u003e—The A.V. Club\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Reading Roque Larraquy’s excellent and twisted novel \u003cem\u003eComemadre\u003c\/em\u003e is an exercise in duality: mind and body, present and past, science and art.” \u003cem\u003e\u003cstrong\u003e—New Letters\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A deeply unnerving and morbidly fascinating novel.” \u003cem\u003e\u003cstrong\u003e—Booklist\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Larraquy ventures into the gothic here, only to push beyond it into an even more disquieting realm of obsession, transformation, and the monstrous unknown.”\u003cem\u003e\u003cstrong\u003e —Words Without Borders\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Funny, grotesque and smart.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e“The gruesome content is handled with an absurdist touch.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“A concise family saga by way of Dennis Cooper by way of a stress nightmare; it’s also eminently readable.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eComemadre\u003c\/em\u003e] spins old unreliable narrator techniques into a freshly comic and grotesque examination of the various ways that we try to justify the unjustifiable.” \u003cem\u003e\u003cstrong\u003e—Barrelhouse\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eComemadre\u003c\/em\u003e has wit in excess, spilling out over the pages, like an army of red ants, or the pools beneath a guillotine.” \u003cem\u003e\u003cstrong\u003e—Fanzine\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A masterpiece in regards to dark comedy.” \u003cem\u003e\u003cstrong\u003e—Call Me [Brackets]\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A strange, wild story-slash-philosophical-meander along the lines of art, life, love, and death.” \u003cem\u003e\u003cstrong\u003e—Remezcla\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“One of the most bizarre, darkly comic and fascinating books that I’ve read this year.” \u003cem\u003e\u003cstrong\u003e—Beyond the Epilogue\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“I love \u003cem\u003eComemadre.\u003c\/em\u003e But here I am, days after reading, still asking myself what kind of book it is. Is it humor? Horror? Is it about art? Science? Philosophy? One thing is certain: it is just the kind of book that you’ll want to recommend to your friends over and over again, and here I am, still doing it!”\u003cem\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e—Samanta Schweblin\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Like a beloved B movie, this is the campy horror show all my fellow sickos have been waiting for.” \u003cstrong\u003e—Keaton Patterson\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Larraquy has written a perfect novel: spare, urgent, funny, original, and infused with wonderfully subtle grace. I neglected my domestic duties to devour it.” \u003cstrong\u003e—Elisa Albert\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Moving from a sanatorium at the beginning of the twentieth century in which the doctors decide to use their patients as fodder for a deadly experiment, to an artist at the beginning of the twenty-first who pushes the fleshy manipulations of Chris Burden and Damien Hurst to a new extreme, \u003cem\u003eComemadre\u003c\/em\u003e is a raucous and irreverent philosophical meditation on the relationship of the body to science and to art. Walking a line between parody and critique, this is a grotesquely funny and powerful book.” \u003cstrong\u003e—Brian Evenson\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eComemadre\u003c\/em\u003e is one of the wildest and most disturbing novels I’ve read. With a language that dissects the world while describing it, Roque Larraquy constructs a dark fable about the annihilation of the body, about perversions of art and science. Heather Cleary’s magnificent translation does justice to this extravagant gem—composed like a Hieronymus Bosch diptych that sets us before the monsters of unleashed reason.” \u003cstrong\u003e—Daniel Saldaña París\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eComemadre\u003c\/em\u003e is a sensory experience: images repeat, ‘confession’ has a smell, and obsession feels palpable. The two narrative threads within this wildly strange and perversely humorous novel map the expansive life of the mind, the drive to make a mark on history, and the impact of transgressions in art and science. If a Dalí painting could speak, it would tell us this violently charming tale of ants marching in perfect circles and bodies pushed beyond the limits of the possible.” \u003cstrong\u003e—Elizabeth Willis, Avid Bookshop\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“I’m not entirely sure what the fuck just happened, but, whatever you might say about Roque Larraquy’s \u003cem\u003eComemadre,\u003c\/em\u003e you sure as hell will have \u003cem\u003esomething\u003c\/em\u003e to say. A dizzying, macabre, yet ultimately deliriously delicious tale of medical testing, decapitations, botanically-born flesh-eating larvae, unrequited love, deformities, and extreme art, \u003cem\u003eComemadre\u003c\/em\u003e won’t soon be easily forgotten (if ever it is). Larraquy, an Argentinean screenwriter who has also penned two books (\u003cem\u003eComemadre\u003c\/em\u003e being the first translated into English), is whirlwindishly creative and evidently possessed of a prodigious, if darkly tinged, imagination.\u003cbr\u003e\u003cbr\u003eTwo distinct narratives, ultimately linked yet set 102 years apart, combine to grotesque and lasting effect. Larraquy writes fantastically and, however unlikely it may seem given its obsessive subjects, with considerable humor. The same unsettling, disquieting feeling one might be left with after engaging, say, Georges Bataille’s \u003cem\u003eThe Story of the Eye\u003c\/em\u003e or fellow Argentinean author Samanta Schweblin’s \u003cem\u003eFever Dream\u003c\/em\u003e is present in spades. \u003cem\u003eComemadre\u003c\/em\u003e never flinches, however much its readers inevitably must. \u003cem\u003eComemadre\u003c\/em\u003e lures, bedevils, and ultimately enamors—distending reality (and decency) in the process. Feral fiction at its finest, Larraquy’s Comemadre is beach reading if you inexplicably find yourself marooned with Piggy, Jack, Ralph, and the rest of Golding’s deserted island boys.” \u003cstrong\u003e—Jeremy Garber, Powell’s Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Part horror, part dark comedy, part philosophy.” \u003cstrong\u003e—Unabridged Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Roque Larraquy:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Who the devil is this Roque Larraquy? His first book seems like an artifact written with four hands—amid laughter and hidden from everyone—by Jorge Luis Borges and Witold Gombrowicz. Or maybe not Gombrowicz, but Virgilio Piñera. Or maybe not Borges, but Villiers de L’Isle-Adam adapted by Paul Valéry (did you know Valéry spent his youth digging up skulls to make calculations?). What is certain is that this truly magnificent novel exudes intelligence, humor, cynicism, cruelty. Cold passion with unsettling—and unexpectedly moving—effects.” \u003cstrong\u003e—Ignacio Echevarría\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In spite of having all the necessary ingredients for a historical novel (the clinic, sordid and suburban; the positivist, anthropometric delusions), it’s not a historical novel; in spite of possessing, at first glance, the traits that generally mark ‘realistic fiction,’ (the cross between conceptual art, spectacle, and biopolitics; the gray areas of death, sickness and animalism as thresholds of humanity), something in its tone subjects the reality to a process of distancing treating it as a foreign body—alien—neither completely alive nor completely dead.” \u003cstrong\u003e—Diego Peller, \u003cem\u003eBazar Americano\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Larraquy spent seven years writing his first book . . . and another three passed before the appearance of his second. We don’t know how long it will take him to publish his next one, but we intuit that there will be a third and a fourth, because in what we’ve seen of his work up to now there is a discernible literary project—a project that’s difficult to define, for which terms like ‘story,’ ‘novel,’ or ‘poetry’ are insufficient.”\u003cstrong\u003e —Maximiliano Tomas\u003cem\u003e, La Nación\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2293514043416,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895156_FC.jpg?v=1511373806"},{"product_id":"beneath-the-spanish","title":"Beneath the Spanish","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003ePoetry by Victor Hernández Cruz\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 10, 2017 • 6 x 9 • 185 pages • 978-1-56689-489-0\u003c\/h5\u003e\n\u003ch4\u003ePuerto Rico, California, New York, Morocco—these are songs of a poet’s genesis, and the places that formed him.\u003c\/h4\u003e\n\u003cp\u003e\u003cem\u003eBeneath the Spanish\u003c\/em\u003e is history, the clash and melt of cultures, the conquest of the New World, colonialism, bilingualism, fragmentation, and cubism. Poems built of tobacco, sugar, café; Spanish, Arabic, English; José Martí, Federico García Lorca, and William Carlos Williams. A history and exploration of Hernández Cruz’s Caribbean roots as well as a documentation of and counterpoint to the origin of the European cultural intrusion into the New World, Beneath the Spanish deconstructs and reconstructs a wounded history, offering a prayer for communication between distances, oceans, music, dance, and mountains, revealing the past in the present moment we live.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVictor Hernández Cruz is the author of several collections of poetry including, most recently, \u003cem\u003eThe Mountain in the Sea\u003c\/em\u003e and \u003cem\u003eIn the Shadow of Al-Andalus\u003c\/em\u003e. Featured in Bill Moyers’s \u003cem\u003eThe Language of Life\u003c\/em\u003e series, Cruz’s collection \u003cem\u003eMaraca\u003c\/em\u003e was a finalist for the Lenore Marshall and Griffin Poetry Prizes. He divides his time between Morocco and his native Puerto Rico.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e“From one of the world’s most eminent poets, \u003cem\u003eBeneath the Spanish\u003c\/em\u003e is a trumpeting source to draw from in this unsteady time. This book is a virtual encyclopedia of poetics histories in colonial resistances. Thoroughly steeped in signature inimitable musicality and flourishing image verse, this encompassing, jazz-inspired, paramount collection brings us to our knees and delivers us back into the beauty of life amidst all its human complications and conditions. Into the spirit stains, perfumes, and lingual intensities bridging migrations, languages, and cultures to reel in lucidity and create a balancing nest of home. A socially artistic creation by a seasoned genius, \u003cem\u003eBeneath the Spanish\u003c\/em\u003e is on time, in time, and Victor Hernández Cruz delivers one of the most gorgeously stunning and remarkable contributions to the canon to date. Go on, lose yourself in this.” \u003cstrong\u003e—Allison Adelle Hedge Coke, author of \u003cem\u003eStreaming\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eBeneath the Spanish\u003c\/em\u003e celebrates the evolution and musicality of language by taking you on a journey through the landscapes and cultures that formed the poet and his own bilingual expressions of self:  Puerto Rico, California, New York, and Morocco.” \u003cstrong\u003e\u003cem\u003e—Bustle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“...exuberant, spontaneous, fast-paced…” \u003cem\u003e\u003cstrong\u003e—American Poets\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Victor Hernandez Cruz’s \u003cem\u003eBeneath the Spanish\u003c\/em\u003e is a vibrant poetic manifesto designed to unite the scattered indigenous peoples of the world.” \u003cstrong\u003e\u003cem\u003e—The Journal\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2546742624280,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Cruz_BeneaththeSpanish_9781566894890.jpg?v=1512584739"},{"product_id":"mean","title":"Mean","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA nonfiction novel by Myriam Gurba\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eNovember 7, 2017 • 5.5 x 8.25 • 192 pages • 978-1-56689-491-3\u003c\/h5\u003e\n\u003ch4\u003eGurba grows up queer, Chicana, and take no prisoners. Her story is a revelation, a delight, and an eye-opener.\u003c\/h4\u003e\n\u003cp\u003eTrue crime, memoir, and ghost story, \u003cem\u003eMean\u003c\/em\u003e is the bold and hilarious tale of Myriam Gurba’s coming of age as a queer, mixed-race Chicana. Blending radical formal fluidity and caustic humor, Gurba takes on sexual violence, small towns, and race, turning what might be tragic into piercing, revealing comedy. This is a confident, intoxicating, brassy book that takes the cost of sexual assault, racism, misogyny, and homophobia deadly seriously.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eMyriam Gurba lives in California and loves it. She teaches high school, writes, and makes “art.” NBC described her short story collection \u003cem\u003ePainting Their Portraits in Winter\u003c\/em\u003e as “edgy, thought-provoking, and funny.” She has written for \u003cem\u003eTime,\u003c\/em\u003e KCET, and the \u003cem\u003eRumpus\u003c\/em\u003e. Wildflowers, compliments, and cash make her happy.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eMean\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eFinalist for the Lambda Literary Award in LGBTQ Nonfiction\u003cbr\u003eFinalist for the Publishing Triangle Judy Grahn Award for Lesbian Nonfiction\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e2018 ALA-GLBTRT Over the Rainbow Top 10 Book\u003cbr\u003e\u003cem\u003eNylon,\u003c\/em\u003e “Our Favorite Nonfiction Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e “The Best Genre Bending Fiction of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eNBC, “8 Great Latino Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBuzzFeed,\u003c\/em\u003e “The 19 Best Nonfiction Books Of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eAutostraddle,\u003c\/em\u003e “The Top 10 Queer and Feminist Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eRemezcla,\u003c\/em\u003e “These Were the Best Books From Latin American \u0026amp; Latino Authors in 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eThe Riveter,\u003c\/em\u003e “The Riveter’s Top Ten Books of 2017”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba’s] dark humor isn’t used for shock value alone, offering instead a striking image of deflection and coping in the face of real pain and terror.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With its icy wit, edgy wedding of lyricism and prose, and unflinching look at personal and public demons, Gurba’s introspective memoir is brave and significant.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“With unconstrained, inventive, stop-you-in-your-tracks writing, Gurba asserts that there is glee, freedom, and, perhaps most of all, truth in meanness.”  \u003cem\u003e\u003cstrong\u003e—Booklist\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“She tackles everything from sexual violence to racism with humour and directness.” \u003cem\u003e\u003cstrong\u003e—ELLE UK\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba’s] voice is irreverent, lyrical, and sharply observant, even as her book offers dark commentary on what it means to be a woman in American society.” \u003cstrong\u003e—\u003cem\u003eLibrary Journal,\u003c\/em\u003e starred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eMean\u003c\/em\u003e will make you LOL and break your heart.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cspan\u003eP\u003c\/span\u003e\u003cspan\u003eortrayals of ideas like home and safety are presented realistically and with complexity.” \u003cem\u003e\u003cstrong\u003e—Remezcla\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e“Gurba’s 'queer art of being mean' is a triumph of deadpan humor in a timely and thrilling voice. Stop everything and read this brave and tender book.\" \u003cem\u003e\u003cstrong\u003e—O, The Oprah Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eMean\u003c\/em\u003e] is a book that commands you, pushing and pulling you with the author’s expert language and voice, haunting you long after the pages have ended.” \u003cem\u003e\u003cstrong\u003e—Atticus Reviews\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e “The book is a study in the utility and limits of niceness, especially when it comes to being a nice girl—and the political power of being mean.”  \u003cem\u003e\u003cstrong\u003e—Pacific Standard\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Don’t let its slim profile fool you, this memoir bursts with vitality and humor (however mordant), all while dealing with issues of gender politics, sexual assault, PTSD, and Gurba’s experience growing up as a queer, mixed race Chicana in California in the ’80s.” \u003cem\u003e\u003cstrong\u003e—Nylon\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Through her unpredictable style, Gurba offers a welcomed antidote to the formula of the contemporary novel.” \u003cem\u003e\u003cstrong\u003e—W Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book is testament, translation, smackdown, and also it’s hella funny.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba throws her past styles and concerns into a blast furnace and casts \u003cem\u003eMean,\u003c\/em\u003e a pair of brass knuckles disguised as a book, a personal narrative that takes on sexual assault and its aftermath, rape culture, racism, queerness, family, and coming of age, laced through with a cool knowing and cooler humor, a literary voice like none other.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Hauntingly, beautiful, and refreshingly blunt, Gurba’s [\u003cem\u003eMean\u003c\/em\u003e] is an open door through which she invites you to experience her life, in all its beauty and struggle. I suggest you walk through it.” \u003cem\u003e\u003cstrong\u003e—Harvard Crimson\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The difficulty and the joy of reading \u003cem\u003eMean\u003c\/em\u003e is diving deep into the murky ‘Molack’ waters with Myriam Gurba.” \u003cem\u003e\u003cstrong\u003e—Bust\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba’s] writing is caustic and scathing, and eloquently targeted.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This is a confident, intoxicating, brassy book that takes the cost of sexual assault, racism, misogyny, and homophobia deadly seriously.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Not one to mince words, this Lambda Literary finalist [Myriam Gurba] nevertheless aims to entertain as she tackles racism, homophobia, and sexual violence in this amusing genre-defying celebration of strategic offensiveness.” \u003cem\u003e\u003cstrong\u003e—Logo\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eMean\u003c\/em\u003e takes a hard look at how this country has treated victims of sexual violence and how collectively we have shamed them into inaction and steered them away from their own advocacy, demonstrating that consequences for attackers often fall entirely on the victim.” \u003cem\u003e\u003cstrong\u003e—The Believer\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Honest and darkly funny, the book is riddled with moments that will have you nodding, cringing, and crying right along with the author.” \u003cem\u003e\u003cstrong\u003e—Harper’s Bazaar\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Throughout the book, [Gurba] handles the telling of one tragedy after another with great care and sharp humor, so there is redemption and levity even in dark moments.” \u003cstrong\u003e—\u003cem\u003eBuzzfeed\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“[Gurba] breathes fire and Spanglish, batters you with her biting humor then buries you in truths you cannot look away from. . . . This is how memoirs should always be written – with fierceness, brutal honesty and a wry smile cutting through it all.” \u003cem\u003e\u003cstrong\u003e—Brightest Young Things\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Read \u003cem\u003eMean\u003c\/em\u003e for its humor and stimulating structure. Read Gurba for her unique perspective and literary stylings.” \u003cem\u003e\u003cstrong\u003e—PANK\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eMean\u003c\/em\u003e is pure Gurba: brazen, ballsy, and grinning. But Gurba’s first memoir is also poised to be a breakout book—a work that, like Lidia Yuknavitch’s \u003cem\u003eThe Chronology of Water,\u003c\/em\u003e will likely catapult its author out of the small world of experimental-ish short fiction and into a much larger readership.” \u003cem\u003e\u003cstrong\u003e—4Columns\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba’s artistic sensibility is so fresh, her wit and observational skills so acute, that she defies all expected tropes and story structure.” \u003cem\u003e\u003cstrong\u003e—Dallas Morning News\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Through wit and in-your-face brilliance, Gurba tells a story that is both deeply personal and bitingly critical of modern life. Along the way, she also gives us a masterclass in what intersectionality is all about.” \u003cem\u003e\u003cstrong\u003e—Shondaland\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Crafted with a specificity of language that only a poet could muster, Mean is a reckoning with racism, misogyny, and homophobia by way of a coming of age tale.” \u003cem\u003e\u003cstrong\u003e—Electric Literature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eMean\u003c\/em\u003e] charts [Gurba’s] coming-of-age as a mixed-raced, queer Chicana and delves into the dark recesses of feminism, racism, sexual violence and PTSD with fierce humor where you’d least expect it.” \u003cem\u003e\u003cstrong\u003e—Orange County Register\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e“To say this book exudes confidence is an understatement.” \u003cem\u003e\u003cstrong\u003e—ELLE\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba’s prose is dark and sparse, potent yet playful. She combines different registers and rhythms, and weaves together threads of different kinds of privilege, whiteness, sexual assault, and trauma.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[Gurba] has written a memoir that is just a little bit different—or maybe a lot—an in-your-face account of the young life of a mixed-race Chicana who identifies as queer, who has known prejudice, the anguish of her own sexual assault and an unshakable haunting by others she knows have been victims.” \u003cem\u003e\u003cstrong\u003e—Kansas City Star\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“If you like memoirs (hell, even if you don’t), this one will knock your socks off.” \u003cem\u003e\u003cstrong\u003e—Hello Giggles\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba’s writing feels devastating and holy and hilarious all at once.” \u003cem\u003e\u003cstrong\u003e—Autostraddle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In vivid and unflinching prose, Gurba looks at sexual assault, racism, misogyny, and homophobia, and speaks out for women who aren’t afraid to be feisty and angry and mean.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eMean\u003c\/em\u003e turns a bright spotlight on the sexual violence that women endure and what it means to live life after trauma.” \u003cem\u003e\u003cstrong\u003e—Them\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba has constructed a coming-of-age memoir full of gut punches and belly laughs, culminating in trauma, but never victimization.” \u003cem\u003e\u003cstrong\u003e—NewPages\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Myriam Gurba’s witty, trenchant, and all too relevant account of a culture in which sexual violence exists as a frightening daily reality and is often confronted alone.” \u003cem\u003e\u003cstrong\u003e—Adroit Journal\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The complexity of [Gurba’s] voice contributes to the appeal of her memoir, which is compelling, suspenseful, both knowable as the girl next door and mysterious. . . . This memoir is remarkable for its unflinching candor, for its humor in the face of tragedy and absurdity, and for its adventurous style.” \u003cem\u003e\u003cstrong\u003e—Shelf Awareness Pro\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eMean\u003c\/em\u003e tackles the most serious of topics—sexual assault, racism, homophobia—with a voice that revels in the grim humor of survival.” \u003cstrong\u003e\u003cem\u003e—Catapult Community, \u003c\/em\u003e“Staff Picks”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“I am such a gigantic fan of Myriam Gurba. Her voice is an alchemy of queer magic, feminist wildness, and intersectional explosion. She’s a gigantic inspiration to my work and the sexiest, smartest literary discovery in Los Angeles. She’s totally ready to wake up the world.” \u003cstrong\u003e—Jill Soloway\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Casually frank and grimly funny, the stealth power of this book mesmerizes. \u003cem\u003eMean\u003c\/em\u003e excavates one female’s personal history with America’s rape culture, zooming through suburbia, race, friendship, desire, education, family, pop culture—essentially taking on the world—with prose both controlled and popping with singular detail. There is no writer like Myriam Gurba, and \u003cem\u003eMean\u003c\/em\u003e is perfection.” \u003cstrong\u003e—Michelle Tea\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘The post-traumatic mind has an advanced set of art skills,’ Myriam Gurba writes. \u003cem\u003eMean\u003c\/em\u003e tackles the profane and the sacred by sticking one hand into your chest and grabbing hold of your heart muscle while the other hand tickle fights your brain, complete with serious noogies. Aligned with female saints and feminist artists and writers, Gurba vividly offers stories both familiar and unfamiliar in a heartbreaking and riotously funny collection that, like Gurba, is hybrid in its form. I don’t know that I’ve ever read a book that covers the territories of class, racism, sexual assault, eating disorders, and more that made me LOL with its ferocious intellect and biting humor. There is just no other voice like hers, and \u003cem\u003eMean\u003c\/em\u003e is a testament to that fact. I want Myriam Gurba to translate the world.” \u003cstrong\u003e—Wendy Ortiz\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“For its unapologetic examination of trauma, for its witty take on the beloved idols of pop, and for its contributions to the genre of memoir, \u003cem\u003eMean\u003c\/em\u003e is a must-read. . . . Gurba’s voice is strong, irreverent, vulnerable, and smart all at the same time, a much needed perspective at a time when white gentility dominates the national conversation on sexual harassment and what it means to be accountable.” \u003cem\u003e\u003cstrong\u003e—Mask Magazine\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba bookends this book with two sexual assaults and in their retelling manages to offer something close to the catharsis we all so desperately need. When I finished the last page, I couldn’t help but reverently whisper aloud, ‘Damn.’” \u003cem\u003e\u003cstrong\u003e—Heauxs\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Gurba manages to simultaneously inhabit the innocence and audacity of a child’s point of view and the nuanced and scathing humor of an adult awareness. She invokes petty meanness and indicts systemic cruelty. She exploits the often-paradoxical distance between the experience of trauma and the body’s reactions to create a fractured narrative that teases the line between disclosure and revelation.” \u003cem\u003e\u003cstrong\u003e—Truthout\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“[\u003cem\u003eMean\u003c\/em\u003e] is not a triumphant story of survival, rather it’s a defiant, hybrid text that refuses to let anyone off the hook and resists the falsity of closure.” \u003cem\u003e\u003cstrong\u003e—Iowa Review\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Gurba’s memoir is a deft fusion of true crime, ghost story and memoir. . . . Gurba freely admits to having a gleefully gruesome sense of humor. She uses this quality liberally in her story of the ghost who haunts Gurba as she’s trying to make sense of her own trauma and life as a mixed-race queer Chicana.” \u003cem\u003e\u003cstrong\u003e—Kansas City Star\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2547698892824,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Gurba_Mean_9781566894913.jpg?v=1512592056"},{"product_id":"empty-set","title":"Empty Set","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Verónica Gerber Bicecci, translated by Christina MacSweeney\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 6, 2018 • 5 x 7.75 • 232 pages • 978-1-56689-494-4\u003c\/h5\u003e\n\u003ch4\u003eA Venn diagram for love, Bicecci’s narrator traces and reconstructs her relationships using geometry, ice cores, and tree rings.\u003c\/h4\u003e\n\u003cp\u003eHow do you draw an affair? A family? Can a Venn diagram show the ways overlaps turn into absences? Can tree rings tell us what happens when mothers leave? Can we fall in love according to the hop-skip of an acrostic? \u003cem\u003eEmpty Set\u003c\/em\u003e is a novel of patterns, its young narrator’s attempt at making sense of inevitable loss, tracing her way forward in loops, triangles, and broken lines.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eVerónica Gerber Bicecci is a visual artist who writes. In 2013 she was awarded the third Aura Estrada Prize for Literature. She is an editor with Tumbona Ediciones, a publishing cooperative with a catalog that explores the intersections between literature and art.\u003cbr\u003e\u003cbr\u003eChristina MacSweeney was awarded the 2016 Valle Inclán Translation Prize for her translation of Valeria Luiselli’s \u003cem\u003eThe Story of My Teeth,\u003c\/em\u003e and her translation of Daniel Saldaña París’s novel \u003cem\u003eAmong Strange Victims\u003c\/em\u003e was a finalist for the 2017 Best Translated Book Award.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eEntropy,\u003c\/em\u003e “Best of 2017: Best Fiction Books”\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Within the deliberately fractured text, themes echo and time folds and unfolds. A spare, artfully constructed meditation on loss, both personal and national.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Gerber Bicecci’s experimental novel takes a unique approach to topics like debilitating loneliness, political repression, and epistemological crises.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“This is a novel to puzzle over as its episodes, which are not chronological, align and create points of reference that allow readers to decipher Verónica’s story just as she herself does.” \u003cem\u003e\u003cstrong\u003e—Booklist\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A smart story of love and loss with a clever mix of narrative techniques, \u003cem\u003eEmpty Set\u003c\/em\u003e may be an antidote to the current climate of despair.” \u003cem\u003e\u003cstrong\u003e—Los Angeles Review of Books\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“A wonderfully kaleidoscopic novel—so inventive, thought provoking, and offbeat.” \u003cem\u003e\u003cstrong\u003e—Chicago Review of Books\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eEmpty Set\u003c\/em\u003e is a visceral and lucid story and also an art object.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Acutely observant and persistently curious.” \u003cem\u003e\u003cstrong\u003e—Harvard Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Who knew a half-drawn, half-achronological narrative with considerations of time and space and loss and love could be so fun, so easy to devour?” \u003cem\u003e\u003cstrong\u003e—Atticus Reviews\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Verónica Gerber writes with a luminous intimacy; her novel is clever, vibrant, moving, profoundly original. Reading it made me feel as if the world had been rebuilt.” —\u003cstrong\u003eFrancisco Goldman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Gerber Bicecci's sentences (and MacSweeney's translation) run as clear as spring water and are a joy to take in, from start to finish.” \u003cstrong\u003e—\u003cem\u003eShelf Awareness, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e \u003cbr\u003e“\u003cem\u003eEmpty Set\u003c\/em\u003e(ES) belongs to the set of Great Fragmentary Novels(GFN), which in turn fits plainly and simply within the set of Great Novels(GN). Verónica Gerber writes with the modesty and care of those who may seem to belong more to the set of Visual Artists(VA) than Writers(W)—each fragment is a precious miniature that exudes subtle, melancholy humor.” —\u003cstrong\u003eJuan Pablo Villalobos\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“I can’t say I’ve ever read anything like it—a novel, sure, but with the spirit (and sometimes the form) of poetry, or linked short stories, along with drawings and a fascinating epilogue on how it was translated.” \u003cem\u003e\u003cstrong\u003e—Chicago Review of Books\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“The pure pleasure of this book is being inside our heroine Vero’s head: the way she Venns relationships like an autodentrochonologist, someone who has serious questions about plywood, but also about exile, Argentina, and the kind of loneliness that accompanies being part of an empty set.” \u003cstrong\u003e\u003cem\u003e—The Rumpus\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eEmpty Set\u003c\/em\u003e is a poignant consideration of displacement, and a haunting search for a set of conditions in which we may feel whole.”\u003cem\u003e\u003cstrong\u003e—The\u003c\/strong\u003e\u003cstrong\u003e Riveter\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eEmpty Set\u003c\/em\u003e nails a sharp melancholy.” \u003cem\u003e\u003cstrong\u003e—Matador Review\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eEmpty Set,\u003c\/em\u003e Verónica Gerber Bicecci has found a seemingly new and fascinating way to tell and show us a vital story of modern loneliness, exile, and imagination.” \u003cem\u003e\u003cstrong\u003e—Words Without Borders\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Consistently innovative and heartrendingly reflective, Bicecci provides a satisfying slice-of-life story despite leaving so much unanswered. . . . Here is a reluctant testament to the fact that beginnings and ends are never as streamlined as we would like them to be; life is riddled with false starts and false summits, and exists only in the border lines that must be drawn to become visible.” \u003cstrong\u003e\u003cem\u003e—Arkansas International\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“A subtle narrative wrapped up in a unique reading experience about loneliness, where the short, fragmented text, and simple, black-and-white drawings echo the subject matter perfectly.” \u003cstrong\u003e\u003cem\u003e—Remezcla\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“An intriguing way of interrogating language.” \u003cstrong\u003e\u003cem\u003e—Signature Reads\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“Dominated by loss, love and exile, this is a novel that can be as frustrating as it is rewarding to unravel, decipher and digest.” \u003cem\u003e\u003cstrong\u003e—OZY\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Sprinkled throughout with diagrams representing Veronica's relationship to the people and universe around her, \u003cem\u003eEmpty Set\u003c\/em\u003e is a hypnotic portrait of a young woman adrift, but always searching for a new way to express her reality.” \u003cstrong\u003e—MPR’s \u003cem\u003eThe Thread\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“As she works through the disappearance of her mother, two heartbreaks, and the archives of a revision-obsessed novelist, Verónica engages in a playful reordering of space on the page: Characters are assigned variables, their relationships to one another expressed through diagrams and patterns. Sketches related to Verónica’s preoccupations (including triangles, Venn diagrams, and forests and ice cores as historical archives) are also dispersed throughout the text as Gerber Bicceci explores the limitations of language and the bittersweet nature of incremental change.”\u003cstrong\u003e—Unabridged Bookstore\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“[A]n experimental mix of prose, diagrams and literary artifacts that is also, somehow, breathlessly plotted.”\u003cstrong\u003e \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e—Star Tribune \u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“How do you render negative space, and if you can accurately describe it, is it really negative? Gerber Bicecci revels in these quandaries and pushes them through all manner of expression: visual, mathematical, linguistic.” \u003cem\u003e\u003cstrong\u003e—Full Stop\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2564457267224,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/GerberBicceci_EmptySet_9781566894944.jpg?v=1512673005"},{"product_id":"tell-me-how-it-ends","title":"Tell Me How It Ends","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn essay by Valeria Luiselli\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 4, 2017 • 5 x 7.75 • 136 pages • 978-1-56689-495-1\u003c\/h5\u003e\n\u003ch4\u003eA damning confrontation between the American dream and the reality of undocumented children seeking a new life in the U.S.\u003c\/h4\u003e\n\u003cp\u003eStructured around the forty questions Luiselli translates and asks undocumented Latin American children facing deportation, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e humanizes these young migrants and highlights the contradiction between the idea of America as a fiction for immigrants and the reality of racism and fear—both here and back home.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eValeria Lui\u003cmeta charset=\"utf-8\"\u003eselli was born Mexico City in 1983 and grew up in South Africa. A novelist (\u003cem\u003eThe Story of My Teeth\u003c\/em\u003e and \u003cem\u003eFaces in the Crowd\u003c\/em\u003e) and essayist (\u003cem\u003eSidewalks\u003c\/em\u003e), her work has been translated into many languages and has appeared in publications including the \u003cem\u003eNew York Times,\u003c\/em\u003e the \u003cem\u003eNew Yorker,\u003c\/em\u003e \u003cem\u003eGranta,\u003c\/em\u003e and \u003cem\u003eMcSweeney’s\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Acc\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eess Improvement Grant administered by \u003c\/span\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003c\/span\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e.\u003c\/span\u003e\n\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003cbr\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cstrong\u003e \u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e \u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of an American Book Award \u003cbr\u003eFinalist for the Kirkus Prize in Nonfiction\u003cbr\u003eFinalist for the National Book Critics Circle Award in Criticism\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eListed in \u003cem\u003eThe Guardian's\u003c\/em\u003e “100 Best Books of the 21st Century”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAwarded a 2019 MacArthur Fellowship\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“As in her hallucinatory and inventive fiction, Luiselli proves her skill as a storyteller while grappling with her own questions of nationalism.” \u003cem\u003e\u003cstrong\u003e—The New Yorker\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Luiselli’s awareness of a story’s ability to restrict informs the book’s judicious use of these children’s lives, as well as its quietly brilliant structure as a series of responses to the questionnaire, which Luiselli describes as a reflection of ‘a colder, more cynical and brutal reality.’ . . . The account that emerges has no fixed origin, and the crisis, as Luiselli wisely points out, belongs not to any specific country or countries but to all of us living in this corner of the world.” \u003cem\u003e\u003cstrong\u003e—New York Times Sunday Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cbr\u003e“Luiselli effectively humanizes the plights of those who have been demonized or who have been reduced to faceless numbers. . . . A powerful call to action and to empathy.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“These days, the whole world, including our politics, is being shaped by migration. Few people explore the nuances of this reality more skillfully than Valeria Luiselli, a strikingly gifted 33-year-old Mexican writer who knows the migratory experience first-hand. . . . Luiselli takes us inside the grand dream of migration, offering the valuable reminder that exceedingly few immigrants abandon their past and brave death to come to America for dark or nasty reasons. They come as an expression of hope.” \u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a vital document for understanding the crisis that immigrants to the U.S. are facing, and a call to action for those who find this situation appalling.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e draws from Luiselli’s experience working as an interpreter for child migrants and is structured around the questionnaire she would guide them through. The contrast between the intimacy of their experiences and the impersonality of the system they’ve been thrown into illuminates the horrors of our immigration system.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e \u2028\u2028“Valeria Luiselli’s latest book, \u003cem\u003eTell Me How It Ends: An Essay in 40 Questions,\u003c\/em\u003e is unsparing in its portrayal of vulnerability and determination.” \u003cem\u003e\u003cstrong\u003e—Rolling Stone\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“This moving, intimate narrative about the migration of children from Central America is based in part on the author’s experience as a volunteer court translator.” \u003cem\u003e\u003cstrong\u003e—New York Times Sunday Book Review \u2028\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a remarkable little work that, through its narrow lens, says more about the country than books ten times its size.” \u003cem\u003e\u003cstrong\u003e—GQ\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“With anger and lucidity, Luiselli depicts the nightmares these children are forced to flee in Guatemala, El Salvador and Honduras, as well as the destructive ignorance and bigotry that awaits them in America. . . . With a beguiling mixture of compassion and intellectual rigor, she gives her readers the chance to look.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“So true and moving that it filled me with hopeless hope.” \u003cem\u003e\u003cstrong\u003e—The Guardian\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a book of staggering emotional power and an incitement to deep shame.” \u003cem\u003e\u003cstrong\u003e—Harper’s\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Mexico-born author Valeria Luiselli has written a slim and moving book on her time working as an interpreter for child refugees making their cases, in court, to remain in the United States. The book, \u003cem\u003eTell Me How It Ends: An Essay in Forty Questions,\u003c\/em\u003e both broadens our understanding of these children and narrows in on our contradictory reception of them. Luiselli . . . interrogates the American conscience as she questions these children. In doing so, she guides us towards, as she puts it, ‘understanding the unthinkable.’” \u003cem\u003e\u003cstrong\u003e—The Nation\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“‘\u003cem\u003eTell Me How It Ends\u003c\/em\u003e’ is all the more moving because Luiselli is so honest about the difficulties of writing these stories . . . What does activist writing, writing that wants to make a real difference, look like?” \u003cem\u003e\u003cstrong\u003e—The New Yorker\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The children [Luiselli] works with are fighting to stay in United States, hoping to escape poverty and violence in their homelands. Their stories are artfully and sparingly captured in this slim book, in which Luiselli recounts the 40 questions she asks each child facing deportation.” \u003cstrong\u003e—MPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u2028\u2028“In this compelling, devastating book, Luiselli documents the huge injustices done to the children by both the American and Mexican governments, and by the public who treat them as ‘illegal aliens’, rather than as what they truly are: refugees of war.” \u003cem\u003e\u003cstrong\u003e—The Guardian\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a slight book with a big impact. . . . It is long-form reporting, as well as a kind of memoir—and finally, in its coda, written after Trump’s election, it becomes a call to action.” \u003cem\u003e\u003cstrong\u003e—Financial Times\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Luiselli’s prose is always lush and astute, but this long essay, which borrows its framework from questions on the cold, bureaucratic work sheets with which she became so familiar (for example, ‘Did anything happen on your trip to the U.S. that scared or hurt you?’), is teeming with urgency. . . . In this slim volume about the spectacular failure of the American Dream, she tells the stories of the unnamed children she’s encountered and their fears and desires, as well as her own family’s immigration story.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“[I]t might just be the most important book you read this year.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Based on Luiselli's time working as a translator and interviewer for undocumented children, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a gut-wrenching and necessary read.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s account of discussions with undocumented children from Latin America facing deportation from the U.S. is a vital book.” \u003cstrong\u003e\u003cem\u003e—Vol. 1 Booklyn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The tone of [\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] is one of profound and committed anger, flawlessly documented, and Luiselli makes a clear and layered case for citizen activism, weaving facts with true emotion as she shapes the narrative.” \u003cem\u003e\u003cstrong\u003e—Miami Rail\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u2028\u2028“Translating language, experience, bodies across space and time, thought and culture—Luiselli wants us to join in this work. \u003cem\u003eTell Me How It Ends\u003c\/em\u003e calls for a wholesale reimagining of both the forces that have shaped contemporary immigration into the United States as well as the way many Americans, disconnected from fact, picture it. It calls, moreover, for action.” \u003cem\u003e\u003cstrong\u003e—Brooklyn Magazine\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s account of discussions with undocumented children from Latin America facing deportation from the U.S. is a vital book.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“This essay, besides its aesthetic value, is a bold political statement and writing in the service of social activism.” \u003cem\u003e\u003cstrong\u003e—Latin American Literature Today\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Luiselli’s book—an empathetic, personal, and rightfully indignant account of the asylum-seeking process—describes how these migrants have faced anything but an open door.” \u003cem\u003e\u003cstrong\u003e—In These Times\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a very short book that looks at migration as a source of hope, as well as a technical, bureaucratic process that eats up people (and children) caught in the trauma of trying to navigate it.” \u003cem\u003e\u003cstrong\u003e—GQ\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s so-called essay is more than a memoir; it’s more than a report on an emergency, though it fulfills that role ably as well. In attempting to thread its way through the incoherence of both the refugee children’s traumatic journeys and the U.S. immigration system as a whole, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e reveals, ultimately, the burdens of narrative coherence.” \u003cem\u003e\u003cstrong\u003e—Carolina Quarterly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eTell Me How it Ends: An Essay in Forty Questions\u003c\/em\u003e [Luiselli] combines the skills of a journalist who has a sharp eye for significant details with a novelist’s empathy.” \u003cem\u003e\u003cstrong\u003e—Times Literary Supplement\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] is written from a transnational perspective, and all the more lucid for it.” \u003cem\u003e\u003cstrong\u003e—The Intercept\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A powerful indictment of American immigration policy, [\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] examines a system that has failed child refugees in particular.” \u003cem\u003e\u003cstrong\u003e—Financial Times\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“Sharp and compelling, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e demands that [these children] be seen.” \u003cem\u003e\u003cstrong\u003e—World Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How it Ends\u003c\/em\u003e is the kind of reading experience that rips your heart out. . . . Luiselli has already demonstrated she’s one of the most powerful young voices in fiction, and with this book she has done the same in the realm of nonfiction. Simply put, this is required reading.” \u003cem\u003e\u003cstrong\u003e—Vol. 1 Brooklyn\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e itself is also a sharp, useful narrative, a ‘telling better.’ It can be pressed into hands, recommended, and it will open wallets and drive people into the streets to protest.” \u003cem\u003e\u003cstrong\u003e—Remezcla\u003c\/strong\u003e\u003c\/em\u003e \u2028\u003cbr\u003e\u003cbr\u003e“A gut-wrenching and necessary read.” \u003cem\u003e\u003cstrong\u003e—Bustle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends: An Essay in Forty Questions\u003c\/em\u003e is at once a deft exposition on the injustices of immigration law, the long, bullying history of U.S.-Central American relations, and the obstacles and politics of translation.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003c\/strong\u003e\u003c\/em\u003e\u2028\u2028\u003cbr\u003e\u003cbr\u003e“In the age of Trump, the call to bring ‘anger and clarity’ to writing refutes the idea that literature is a guilty, escapist indulgence. Tell Me How It Ends insists that artists take action, and its message is clear: we are all deeply implicated in the plight faced by these children.” \u003cem\u003e\u003cstrong\u003e—Paste\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a damning but deeply humane indictment of the narratives with which we’ve built America, both the stories we keep hidden and those we use to justify our cruelty. The experiences of the children Luiselli interviews demand that we complicate our own roles in the immigration crisis’s continent-wide affect; we can’t rewrite what these children have been through, but we must pursue more compassionate, more just stories of our own.” \u003cem\u003e\u003cstrong\u003e—The Riveter\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is intimate, heartbreaking, and revealing—and I am convinced the country would be a better place if everyone were required to read it.” \u003cem\u003e\u003cstrong\u003e—Shondaland\u003c\/strong\u003e\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e“Luiselli masterfully blends journalism, auto\/biography, and political history into a compelling and cohesive narrative. . . . Luiselli uses the personal to get political but smartly sidesteps identity politics to focus on policy instead, thus enabling a broader coalition around immigration in general. Writing clear-eyed, she guides the reader through court proceedings and critiques the language of the law and media (‘the word “illegal” prevails over “undocumented” and the term “immigrant” over “refugee.”’), without losing sight of her subject: undocumented children.” \u003cem\u003e\u003cstrong\u003e—The Rumpus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This essential book humanizes these young migrants, highlights the contradictions of the American Dream, and explores the fear and racism so prevalent for the people who try to make the U.S. their home.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This noble instinct probably feels familiar to the many writers who, since the American political crisis began with the election of Donald J. Trump, have been turning their work outward to looming racial, economic, and environmental injustices. But what Luiselli accomplishes, in her volunteer work and in \u003cem\u003eTell Me How It Ends,\u003c\/em\u003e is quite a bit more pointed: a transformation of consciousness.” \u003cem\u003e\u003cstrong\u003e—Literary Hub\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e tells the story of [Luiselli’s] experience working as a translator, and is a searing indictment of the systems and attitudes that inform the policing of our borders.” \u003cem\u003e\u003cstrong\u003e—Dissent\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In perhaps the most important book of 2017, Luiselli tells the story of her time volunteering as an interpreter for undocumented children fleeing violence in Central and South America seeking residency in the United States. Luiselli tries to change the way we talk about immigration, especially from our Southern neighbors, by exploring our complicity in the crises that turned these people into refugees and reminding us that quite often, when we’re talking about ‘illegal aliens’ and ‘undocumented immigrants,’ or whatever other term someone might try to scare us with, we’re talking about children.” \u003cem\u003e\u003cstrong\u003e—Writer’s Bone\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is the best first book to read about the immigration crisis; if, like Luiselli, you come to the issue with nothing but questions, there is not a better hundred pages for you to read. . . . As the interpreter struggles to bridge the gap between the law and the experiences of children too young to fully understand what has happened to them—and, often, too traumatized to fully explain it—she tells a story without an ending, only a question, only a hope, and only a prayer: to arrive.” \u003cem\u003e\u003cstrong\u003e—Bookwitty\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book serves as another wake up call, and, even more importantly, a call to action. . . .  It’s another step forward in the strange struggle of our modern age, or maybe it’s any age, the humanizing of humans. The very least we can all do is hear these stories. Read this book.” \u003cem\u003e\u003cstrong\u003e—Proximity Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli’s book . . . becomes worthy of inclusion in a great American (and international) canon of writing about migration.” \u003cem\u003e\u003cstrong\u003e—Texas Observer\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eTell Me How It Ends: An Essay in Forty Questions\u003c\/em\u003e Mexican author Valeria Luiselli assumes a role not only as a ‘resident alien’ or interpreter but, more importantly, as a storyteller. She relays the crisis of undocumented youth so we might examine their present struggles and link them to our own inexplicable past.” \u003cem\u003e\u003cstrong\u003e—Houston Chronicle\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[\u003cem\u003eTell Me How It Ends\u003c\/em\u003e] fearlessly delves into the heavy-handed reality of racism that often goes unspoken both in their home country and in America.” \u003cem\u003e\u003cstrong\u003e—The Riveter Newsletter\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a book that turns numbers back into people.” \u003cem\u003e\u003cstrong\u003e—In Order of Importance\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Thorough, vulnerable, and compassionate, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e offers deep inspection on what may be perceived as a ‘long-resolved issue.’ Luiselli writes to keep our eyes open.” \u003cem\u003e\u003cstrong\u003e—Ploughshares\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Luiselli has woven an essential moral text for an age of migration.” \u003cem\u003e\u003cstrong\u003e—Vulture\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“It is time for the rest of us to ask our own set of questions about what we expect from our government when it comes to protecting the welfare of vulnerable children. With the help of Tell Me How It Ends, we have more insight than ever into what those questions should be.” \u003cem\u003e\u003cstrong\u003e—Signature\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Language, and the political weight it carries, is at the heart of this book.” \u003cem\u003e\u003cstrong\u003e—Bookwitty\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Like her other works of fiction, \u003cem\u003eThe Story of My Teeth\u003c\/em\u003e and \u003cem\u003eFaces in the Crowd,\u003c\/em\u003e and her essay collection \u003cem\u003eSidewalks, Tell Me How It Ends\u003c\/em\u003e is an experimental foray, this time into what in other hands mind be a straightforward piece of journalism. Because she was so close to the stories of these children, speaking directly to them, she captured their voices and their experience with more empathy than any fact or statistic.” \u003cem\u003e\u003cstrong\u003e—THE Magazine\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“This book shoves aside over-intellectualization of border and immigration policy and reminds us of the damn hard and harrowing realities of the children who come into the US from Central America and Mexico every day, what they faced in the cities they left and what they face when they get here. Luiselli is a sharp, searing writer. She packs a lot of power. Be prepared to cry. Read it, read it, read it and then share it.” \u003cem\u003e\u003cstrong\u003e—Texas Book Festival\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eTell Me How It Ends\u003c\/em\u003e leaves the question of its title urgently unanswered, and lights a fire under the reader to get them involved.” \u003cstrong\u003e\u003cem\u003e—Remezcla\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In this world of unending crisis, Luiselli’s book is an important testament to the people and children buried within the numbers and histories and politics, and through her compassionate observations she reminds us of their unassailable humanity.” \u003cem\u003e\u003cstrong\u003e—Drunken Boat\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Using the essay form to interrogate the question of citizenship, Luiselli’s \u003cem\u003eTell Me How It Ends\u003c\/em\u003e reminds us that as long as we’re a nation who defines itself by saying who doesn’t belong, we’ll ask the more complicated question of who does.” \u003cem\u003e\u003cstrong\u003e—Critical Mass\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Books like \u003cem\u003eTell Me How It Ends\u003c\/em\u003e are like dew on a spiderweb, revealing the often forgotten and sometimes ignored threads of humanity that connect us all.” \u003cstrong\u003e—Josh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In the warrens of New York City’s federal immigration court, an adolescent boy from Honduras confronts a thoroughly confused immigration bureaucracy with the help of his translator, who is the author of this book. He is just one of thousands of immigrant children longing for permanence in this country, but we get to see him up close. With Valeria Luiselli as our guide, we navigate the corridors of a system that tries and fails to reconcile America’s long-standing welcome of the poor, the terrorized, and the adventurous with its current fear and mistrust of immigrants. In the frightening year of 2017 this is a most necessary book, and a unique one, from a writer whose clear-eyed intelligence and marvelous literary imagination make every one of her narratives a compelling read.” \u003cstrong\u003e—Alma Guillermoprieto\u003c\/strong\u003e   \u003cbr\u003e\u003cbr\u003e“Compelling and urgent, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e gives a face and a name to the hundreds of thousands who have committed the innocent crime of geography: being born in a certain time and place. The bureaucratic labyrinth of immigration, the dangers of searching for a better life, all of this and more is contained in this brief and profound work. \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is not just relevant, it’s essential.” \u003cstrong\u003e—Mark Haber, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In the hours Valeria Luiselli spends at the immigration courts in NYC, her duty is to listen to children tell her stories about their scars and how they got them. Like a morbid game show, the children’s answers determine their fate. The grand prize? Permanent citizenship, if all goes well. The alternative? Deportation. Bonus: due to the volume of cases, the standard intake form forgives only those who have the most gruesome traumas, wounds that they can show—and of course, the language to speak about them. Part treatise, part memoir, part call-to-action, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e inspires not through a stiff stance of authority, but with the curiosity and humility Luiselli has long since established. It may not cure your panic, but it sure as hell won’t feed it.” \u003cstrong\u003e—Annalia Luna, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is an important reminder that words matter. The questions we ask of others are built upon a foundation of assumptions about the past and expectations for the future. Appealing to the language of the United States’ fraught immigration policy, Luiselli exposes the cracks in this foundation. Herself an immigrant, she highlights the human cost of its brokenness, as well as the hope that it (rather than walls) might be rebuilt.” \u003cstrong\u003e—Brad Johnson, Diesel Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“With gifted prose and a compassionate but penetrating gaze, Luiselli personalizes the ongoing plight of Latin American child migrants in the United States. Her own immersion as a translator informs a trenchant first-hand account of the labyrinthine legal processes and inevitable bureaucratic indifference faced by undocumented youth. Humane yet often horrifying, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e offers a compelling, intimate look at a continuing crisis—and its ongoing cost in an age of increasing urgency.” \u003cstrong\u003e—Jeremy Garber, Powell’s Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This is a timely take on one of the most pressing humanitarian crises of the 21st century. Without a doubt the most essential read of the year, this slight book can do some real good in the world. Luiselli is a badass.” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Luiselli’s] account of time spent helping refugees interpret the bureaucratic labyrinth of the American immigration system is eye-opening and life-altering.” \u003cstrong\u003e—Island Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s extended essay on her volunteer work translating for child immigrants confronts with compassion and honesty the problem of the North American refugee crisis. It’s a rare thing: a book everyone should read.” \u003cstrong\u003e—Stephen Sparks, Point Reyes Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“‘Tell me how it ends,’ the young daughter says to the mother. Valeria Luiselli uses this query, said of the heartbreaking, infuriating situation involving ‘undocumented’ Central American children and the legal system they encounter here that she movingly chronicles in this powerful essay. She helps call to question where we as people, as a people, are with innocent children, who or what is ‘alien,’ even the business of who is American, given that she casts this as a connective scenario, with what happens in Tegucigalpa being related to what happens in Hempstead, New York. In this we are all Americans, finally. Imagine being put into court systems without the language to speak, much less the adult language of law. And while this essay is brilliant for exactly what it depicts, it helps open larger questions, which we’re ever more on the precipice of now, of where all of this will go, how all of this might end. Is this a story, or is this beyond a story? Valeria Luiselli is one of those brave and eloquent enough to help us see.” \u003cstrong\u003e—Rick Simonson, Elliott Bay Book Company\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Valeria Luiselli’s \u003cem\u003eTell Me How It Ends\u003c\/em\u003e helped me see the crisis undocumented immigrants, especially children coming from Mexico and Central America, are facing in our country in much the same way Michelle Alexander’s The New Jim Crow helped me see how slavery’s legacy is being perpetuated in the mass incarceration of black Americans. As someone who has read every one of Luiselli’s books, I expected her writing here to be erudite and elegant, and it is, of course it is, but what I did not expect was for her writing to be this immediate and this personal. I did not expect to be hit this hard emotionally, to feel every fear and every longing in the deepest part of who I am. I can’t remember the last time I read something and had this kind of physical reaction. I felt this book in the tug behind my eyes, in these hands shaking, in this heart beating too quickly. This is a work I will share with everyone I know. This is something every American needs to face, and to feel.” \u003cstrong\u003e—Kenneth Coble, King’s Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“From violence on the road, the perilous border trek, to the perplexingly abstract questions they're forced to answer, this book provides a quick and incredibly powerful insight into the intimate lives of those directly affected by our immigration policies.” —\u003cstrong\u003e\u003cem\u003eHeauxs\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Deeply researched, personal, and written in distilled, gorgeous prose that demands to be read, \u003cem\u003eTell Me How it Ends\u003c\/em\u003e captures the great injustices that come from trying to lump complex lives and circumstances into a single political issue.” —\u003cstrong\u003e\u003cem\u003ePortland Mercury\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In an essay as bracing as it is searing, the incomparable Valeria Luiselli explores the 2014 immigration crisis. Luiselli writes with a clarity that underscores the nightmarish conditions and nonsensical bureaucracy undocumented children face on their passage to America and toward U.S. citizenship. \u003cem\u003eTell Me How It Ends\u003c\/em\u003e evokes empathy as it educates. It is a vital contribution to the body of post-Trump work being published in early 2017.” \u003cstrong\u003e—Katharine Solheim, Unabridged Books\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Luiselli places a mirror in front of our collective soul.” \u003cem\u003e\u003cstrong\u003e—Latino Book Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Tell Me How It Ends braids the author’s personal experience with child refugees with the history and politics of how they came here and why.” —\u003cstrong\u003e\u003cem\u003ePloughshares Blog\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\"Based on Luiselli's time working as a translator and interviewer for undocumented children, \u003cem\u003eTell Me How It Ends\u003c\/em\u003e is a gut-wrenching and necessary read.\"\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":2753968570392,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Luiselli_TellMeHow_9781566894951.jpg?v=1513873116"},{"product_id":"after-the-winter","title":"After the Winter","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Guadalupe Nettel, translated by Rosalind Harvey\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 4, 2018 • 5.5 x 8.25 • 264 pages • 978-1-56689-525-5\u003c\/h5\u003e\n\u003ch4\u003eIn Havana, Paris, and New York City, Claudio and Cecilia succumb to our implacable movement toward love.\u003c\/h4\u003e\n\u003cp\u003eClaudio’s apartment faces a wall. Rising from bed, he sets his feet on the floor at the same time, to ground himself. Cecilia sits at her window, contemplating a cemetery, the radio her best companion. In parallel and entwining stories that move from Havana to Paris to New York City, no routine, no argument for the pleasures of solitude, can withstand our most human drive to find ourselves in another and fall in love. And no depth of emotion can protect us from love’s inevitable loss.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eGuadalupe Nettel was voted one of the thirty-nine most important Latin American writers under the age of thirty-nine at the Bogotá Hay Festival in 2006. She has lived in Montreal and Paris and is now based in Mexico City. Her previous books include \u003cem\u003eNatural Histories\u003c\/em\u003e and \u003cem\u003eThe Body Where I Was Born\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eRosalind Harvey is an award-winning literary translator and a teaching fellow at the University of Warwick. She has worked on books by Guadalupe Nettel, Elvira Navarro, Enrique Vila-Matas, and Héctor Abad Faciolince, among others.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch5 style=\"text-align: center;\"\u003eThanks to a 2013 ADA Access Improvement Grant administered by \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"http:\/\/vsamn.org\/\"\u003eVSA Minnesota\u003c\/a\u003e\u003c\/span\u003e for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"mailto:info@coffeehousepress.org\"\u003einfo@coffeehousepress.org\u003c\/a\u003e\u003c\/span\u003e.\u003c\/h5\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eLonglisted for the Best Translated Book Award\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Nettel’s sharp, potent novel depicts how even the briefest relationship can affect the rest of a life.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly, \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A compassionately written portrait of urban loneliness and the human impulse to belong.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In \u003cem\u003eAfter the Winter,\u003c\/em\u003e Nettel has fashioned a powerful and luminous novel, one that portrays absence, presence and human imperfection with a unique and penetrating voice.” \u003cem\u003e\u003cstrong\u003e—Ploughshares\u003c\/strong\u003e\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e“Previous relationships haunt the characters’ interior monologues, and woven into Nettel’s confident, empathic lines is the sad certainty that the author has explored in her other works: that life, let alone love, is fleeting.” \u003cem\u003e\u003cstrong\u003e—The Atlantic\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Nettel’s mission is deeply personal and recognizably urgent.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Nettel brilliantly conveys the way things can go wrong at the beginning of a relationship and how those disasters can push us in unexpected directions.” \u003cem\u003e\u003cstrong\u003e—Words Without Borders\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Brilliantly written.” \u003cstrong\u003e\u003cem\u003e—Guernica\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In capturing the voices, travails, and eventual connection of two lonelyhearts, Guadalupe Nettel’s \u003cem\u003eAfter the Winter\u003c\/em\u003e captures the spirit of urban loneliness so vividly that it’s often painful to read.” \u003cem\u003e\u003cstrong\u003e—The Quarterly Conversation\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Nothing short of transcendent.” \u003cem\u003e\u003cstrong\u003e—Three Percent\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Powerful and fun and, at times, devastating in the most meaningful ways.” \u003cem\u003e\u003cstrong\u003e—Angel City Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Utterly brilliant.” \u003cem\u003e\u003cstrong\u003e—Bookriot\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eAfter the Winter\u003c\/em\u003e asks big questions about intimacy and desire, happiness and depression, passion and numbness, and, of course, love and loss.” \u003cem\u003e\u003cstrong\u003e—Southwest Review\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“In a tale of intertwining fates and the threads of interiority that connect the most disparate souls, Mexico City–based Guadalupe Nettel perfectly explicates the loneliness of expatriation as well as the gravity of a momentary meeting when one longs for love.” \u003cem\u003e\u003cstrong\u003e—World Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Guadalupe Nettel is a writer to trust: she will take you into the mind’s dark places, illuminate them brilliantly, and bring you out again feeling like you have been somewhere important.” \u003cstrong\u003e\u003cem\u003e—Three Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[W]hat most connects [the characters] here in \u003cem\u003eAfter the Winter,\u003c\/em\u003e what Nettel understands with such sensitivity, are the contradictory desires we have to both live alone in our apartments, our self-made mausoleums, and to escape them, to leave them behind and seek out human connection.” \u003cem\u003e\u003cstrong\u003e—Arkansas International\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Nettel transfixes with this insightful and painfully poignant novel, which examines the bonds between people, the degrees of intimacy and commitment we allow ourselves and the toll isolation can take upon the soul.” \u003cem\u003e\u003cstrong\u003e—Glasgow Herald\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A wonderful reading experience.” \u003cem\u003e\u003cstrong\u003e—\u003c\/strong\u003e\u003cstrong\u003eBook Riot\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Guadalupe Nettel is a brilliant anatomist of love and perversity, and each new book is a revelation.” \u003cstrong\u003e—Katie Kitamura\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Guadalupe Nettel’s \u003cem\u003eAfter the Winter\u003c\/em\u003e is a dazzling excavation of the glimmering particularities of consciousness, and how a collision of fates can transform our inner worlds. This taut, atmospheric novel is an ode to the complicated heartbreak of loving what will forever be just out of reach.” \u003cstrong\u003e—Laura van den Berg\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Guadalupe Nettel is a luminous writer of dark humor and wild insight. \u003cem\u003eAfter the Winter\u003c\/em\u003e is a deeply compassionate story about love, about how hard it is to know another—let alone ourselves—in all our strange glory. Yet, in the end, it is also a story about how essential it is, in spite of the pitfalls, to try.” \u003cstrong\u003e—Nick Flynn\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e“Beautiful, melancholic and universal . . .” \u003cstrong\u003e—Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Guadalupe Nettel:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“One of the fascinating qualities of this book is the unsparing testimony, somewhere between religious confession and secular disclosure, that gives a sharp sense of a woman’s harrowing girlhood. . . . Nettel’s strategy yields rich rewards.” \u003cem\u003e\u003cstrong\u003e—New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A remarkable exploration into sight and the perceptions of childhood.” \u003cem\u003e\u003cstrong\u003e—Bookforum\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Nettel’s eye lightly deforms things and gives rise to a tension, subtle but persistent, that immerses us in an uncomfortable reality, disquieting, even disturbing—a gaze that illuminates her prose like an alien sun shining down on our world.” \u003cstrong\u003e—Valeria Luiselli\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Nettel’s stories are as atmospheric and emotionally battering as Chekhov’s.” \u003cem\u003e\u003cstrong\u003e—Asymptote\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Five flawless stories. . . . Nettel offers her keen attention and sympathy to any living thing struggling to get by.” \u003cem\u003e\u003cstrong\u003e—New York Times\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Here is an utterly compelling memoir about a specifc body, which simultaneously conjures the fragility of that body, as well as the ever-shifting body of memory itself. Nettel has brilliantly found a form to contain the multitudes of what one body can hold.” \u003cstrong\u003e—Nick Flynn\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It has been a long time since I’ve found in the literature of my generation a world as personal and untransferable as that of Guadalupe Nettel.” \u003cstrong\u003e—Juan Gabriel Vásquez\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Body Where I Was Born\u003c\/em\u003e infuses the reader with an intimate portrait of the astute and wondrous depth that children use to observe and make sense of humanity. This book is fierce and from the gut. It is a testimony of a woman finding agency in her body because it is physical evidence that connects her to the planet and the rest of humanity.” \u003cem\u003e\u003cstrong\u003e—World Literature Today\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Nettel’s work is spare, smart, and captivating.” \u003cem\u003e\u003cstrong\u003e—Signature Reads\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":3324275982360,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895255_FC_591043f8-d056-4198-a075-3c5503f061f6.jpg?v=1531238078"},{"product_id":"the-remainder","title":"The Remainder","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eA novel by Alia Trabucco Zerán, translated by Sophie Hughes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eAugust 6, 2019 • 5 x 7.75 • 240 pages • 978-1-56689-550-7\u003c\/h5\u003e\n\u003ch4\u003eA coffin, a camera, a bottle of pisco: three friends embark on a road trip through the Andes to confront a history they can neither remember nor forget.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFelipe and Iquela, two young friends in modern day Santiago, live in the legacy of Chile’s dictatorship. Felipe prowls the streets counting dead bodies real and imagined, aspiring to a perfect number that might offer closure. Iquela and Paloma, an old acquaintance from Iquela’s childhood, search for a way to reconcile their fragile lives with their parents’ violent militant past. The body of Paloma’s mother gets lost in transit, sending the three on a pisco-fueled journey up the cordillera as they confront the pain that stretches across generations. \u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAlia Trabucco Zerán was born in Chile in 1983. She holds an MFA in creative writing in Spanish from New York University and a PhD in Latin American Studies from University College London. \u003ci\u003eLa Resta\u003c\/i\u003e (\u003ci\u003eThe Remainder\u003c\/i\u003e) was chosen by \u003ci\u003eEl País\u003c\/i\u003e as one of its top ten debuts of 2015 and was granted a Best Literary Work Award from the Chilean Council for the Arts. She is also the author of \u003ci\u003eLas homicidas,\u003c\/i\u003e a non-fiction book about women who kill.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSophie Hughes is an award-winning translator from Spanish. She has been the recipient of an American PEN\/Heim Translation Fund grant, and in 2018 she was announced as one of the Arts Foundation 25th anniversary fellows for her contribution to the field of literary translation.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Remainder\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eKirkus,\u003c\/em\u003e “Best Fiction of 2019”\u003cbr\u003e\u003cem\u003eKirkus,\u003c\/em\u003e “Best Fiction in Translation of 2019”\u003cbr\u003eShortlisted for the 2019 Man Booker International Prize\u003cbr\u003e\u003cem\u003eVanity\u003c\/em\u003e \u003cem\u003eFair,\u003c\/em\u003e “Best Books of 2019”\u003cbr\u003e\u003cem\u003eEntropy,\u003c\/em\u003e “Best of 2019”\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A lyrical evocation of Chile’s lost generation, trying ever more desperately to escape their parents’ political shadow.”\u003cstrong\u003e—Man Booker International Judges\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"This novel is vividly rooted in Chile, yet the quests at its heart—to witness and survive suffering, to put an intractable past to rest—are universally resonant.\" \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A centrifugal story of death, history, and mathematics . . . a debut that leaves the reader wanting more.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“You could call \u003cem\u003eThe Remainder\u003c\/em\u003e a literary kaleidoscope: look at it one way and you see how the past lays a crippling hand on the generation that follows political catastrophe; shift the focus and you’re plunged into a darkly comic road trip with a hungover trio in an empty hearse chasing a lost coffin across the Andes\u003cem\u003e cordillera.\u003c\/em\u003e” \u003cem\u003e\u003cstrong\u003e—The Spectator\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“While writers such as Pedro Lemebel and José Donoso have explored the regime’s impact on those who lived through it, Zerán is concerned with the next generation. Felipe, Iquela and Paloma are the children of ex-militants, attempting to “unremember” the past in Chile’s haunted capital, Santiago.” \u003cem\u003e\u003cstrong\u003e—TIME\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The second-generation trauma narrative gets a Chilean spin in Zerán’s intense novel of interior monologues, which is Faulknerian in themes, structure, and style.” \u003cstrong\u003e\u003cem\u003e—Vulture\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“A mesmerizing, roaming look at intergenerational trauma, told in a specific and surreal style that shimmers and shifts on the page and in the mind.” \u003cstrong\u003e\u003cem\u003e—Nylon\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Truly stunning, full of deft turns of phrase. . . . shines especially bright when unwinding Felipe’s melodic monologues.” \u003cstrong\u003e\u003cem\u003e—Los Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Deeply compelling.” \u003cem\u003e\u003cstrong\u003e—The Guardian\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A haunted novel, awash with sinister and elegiac moods. It stands as a testament to the way the past can unsettle us.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Neither the characters nor the narrative ever deal directly with the historic events themselves, but rather with the fallout – the photographs, vocabulary, places and people left behind as remnants. Zerán seamlessly alternates between the voices of Iquela and Felipe, highlighting the opposing and gendered ways they have reacted to the circumstances of their childhood.” \u003cem\u003e\u003cstrong\u003e—The Times Literary Supplement\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Trabucco Zerán urges readers to value subtext just as much as the ‘official’ narrative . . . a smart, vivid, and richly layered story.” \u003cem\u003e\u003cstrong\u003e—The Adroit Journal\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Alia Trabucco Zerán’s writing is gorgeous: she captures the courage, vulnerability, and suffering of her characters beautifully.” \u003cem\u003e\u003cstrong\u003e—Book Riot\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Intense and haunting, \u003cem\u003eThe Remainder\u003c\/em\u003e is a startling reckoning with the history of violence.” \u003cem\u003e\u003cstrong\u003e—Book Riot\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“This is a powerful debut.” \u003cstrong\u003e\u003cem\u003e—Ms. Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\"The Remainder\u003c\/em\u003e tells us very little about Chile under Pinochet; but everything about what it is like to grow up in the shadow of other people’s unhappiness.” \u003cem\u003e\u003cstrong\u003e—The Big Issue\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A highly recommended debut from one of the most exciting new voices in contemporary Latin American literature.” \u003cem\u003e\u003cstrong\u003e—Morning Star\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Fusing the personal and the political, Zerán aims to capture the legacy of Chile’s bloodshed.” \u003cem\u003e\u003cstrong\u003e—The Irish Times\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“A perfect companion book to last year’s \u003cem\u003eEmpty Set,\u003c\/em\u003e another sparse and brilliant Latin American novel with an experimental structure from the same publisher.” \u003cem\u003e\u003cstrong\u003e—Chicago Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Both a road trip and a countdown . . . fast-paced and gripping.” \u003cem\u003e\u003cstrong\u003e—Librairie Drawn \u0026amp; Quarterly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eThe Remainder\u003c\/em\u003e is a bold literary approach to a national tragedy, which marks a growing desire to confront Chile’s recent history directly, acknowledging those ‘hard truths’.” \u003cem\u003e\u003cstrong\u003e—minor literature[s]\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eThe Remainder\u003c\/em\u003e controls a remarkable range of registers (it is, by turns, lyrical, elegiac, sensual, funny, tragic). The author, like her characters, is obsessed with words, those ‘cracks in language’ that house our particular ways of understanding things. This novel is sure to endure.” —\u003cstrong\u003eEdmundo Paz Soldán\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A powerful, impressive novel, dotted with scenes that are as unique as they are unforgettable.” \u003cstrong\u003e—Lina Meruane\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A fundamental book about what it means to mourn the past, about the remainders of a history that refuses to be forgotten. This is the debut we all wish we had written. A spirited, brave, urgent book, capable of weaving the political and the poetic.” \u003cstrong\u003e—Carlos Fonseca\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A Chilean road trip reveals new ways to think about historical memory.” \u003cstrong\u003e—Alba Lara, \u003cem\u003eIowa Literaria\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe Remainder\u003c\/em\u003e redefines the political novel. . . . The voices in \u003cem\u003eThe Remainder\u003c\/em\u003e are some of the most powerful to have come out of Latin America in the last year.” \u003cstrong\u003e—Bárbara Pérez, “Granta en Español, 5 years later,” Instrucciones de Uso\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“The sharpest, most incisive reprieve from novels dealing with the dictatorship by writers like Bolaño, Marín, Cerda y Varas.” \u003cstrong\u003e—Rodrigo Pinto, \u003cem\u003eEl Mercurio\u003c\/em\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“One of the best publications of 2015.”\u003cstrong\u003e—Patricia Espinosa, \u003cem\u003eLas Últimas Noticias\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Like all of Sophie’s works, the translation is superb. . . . \u003cspan face=\"arial, sans-serif\"\u003eHer translations feel essential but not labored over. Passionate readers of translated works know the confidence that comes with seeing a familiar name as the translator; Sophie is one of those.” \u003cstrong\u003e—Mark Haber, Brazos Bookstore\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e“\u003cspan style=\"font-weight: 400;\"\u003eZerán’s formidable command of two distinct styles throughout the novel (translated beautifully by Sophie Hughes), her ability to plumb the depths of generational trauma and her ability to engage with and deconstruct the concept of collective memory propels \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Remainder\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e to the status of masterpiece.” \u003cem\u003e\u003cstrong\u003e—Paperback Paris\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":12937390948429,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895507_FC_89e4a017-872f-453c-bfd4-c209212f8600.jpg?v=1557252324"},{"product_id":"jakarta","title":"Jakarta","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Rodrigo Márquez Tizano, translated by Thomas Bunstead\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eNovember 5, 2019 • 5.5 x 8.25 • 160 pages • 978-1-56689-563-7\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch4\u003eIn this hallucinatory novel of ruin and reconstruction, a man and his lover search for closure while a virulent plague hastens disaster in the world around them.\u003c\/h4\u003e\n\u003cp\u003eIn a chaotic city, the latest in a line of viruses advances as a man recounts the fated steps that led him to be confined in a room with his lover while catastrophe looms. As he takes inventory of the city’s ills, a strange stone distorts reality, offering brief glimpses of the deserted territories of his memory. A sports game that beguiles the city with near-religious significance, the hugely popular gambling systems rigged by the Department of Chaos and Gaming, an upbringing in schools that disappeared classmates even if the plagues didn’t—everything holds significance and nothing gives answers in the vision realm of his own making. \u003cbr\u003e\u003cbr\u003eThe turbulent and sweeping world of \u003cem\u003eJakarta\u003c\/em\u003e erupts with engrossing new dystopias and magnetic prose to provide a portrait of a fallen society that exudes both rage and resignation.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRodrigo Márquez Tizano (Mexico City, 1984) is a writer. He has been the editor in chief of \u003cem\u003eVICE\u003c\/em\u003e magazine in Mexico and Argentina and is a founding editor of La Dulce Ciencia Ediciones, a publishing imprint dedicated to the world of boxing. He received his MFA from NYU and is completing a PhD at Cornell University. \u003cem\u003eJakarta\u003c\/em\u003e is his first novel.\u003c\/p\u003e\n\u003cp\u003eThomas Bunstead has translated some of the leading Spanish-language writers working today, most recently \u003cem\u003eThe Optic Nerve\u003c\/em\u003e by María Gainza and \u003cem\u003eThe Nocilla \u003c\/em\u003e\u003cem\u003eTrilogy\u003c\/em\u003e by Agustín Fernández Mallo. His own writing has appeared in publications such as the \u003cem\u003eParis Review Daily,\u003c\/em\u003e the \u003cem\u003eTimes Literary Supplement,\u003c\/em\u003e and the \u003cem\u003eWhite Review\u003c\/em\u003e. He is an editor at the literary translation journal \u003cem\u003eIn Other Words\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eJakarta\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cem\u003e\u003cstrong\u003eThe Millions, \u003c\/strong\u003e\u003c\/em\u003e“\u003cstrong\u003eMost Anticipated of 2019”\u003cbr\u003e\u003cem\u003eTranslatedLit\u003c\/em\u003e, “Most Anticipated Titles of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Its style is unique to Tizano . . . An assured but challenging anti-narrative, its offbeat structure evoking a world slipped off its axis.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Dense with imagery and boundless imagination . . . Blending the wildly dystopian with the mundanity of the everyday, this time-jumping narrative is a bolt of originality from a writer to watch.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan face=\"arial, sans-serif\"\u003e“\u003c\/span\u003eA kaleidoscopic take on love and loss and longing, written in a voice that is sharp and cynical yet somehow without despair . . . a deft and deeply rendered work.\u003cspan face=\"arial, sans-serif\"\u003e”\u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e—Los Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Tizano fashions an original, astonishing, and terrifyingly unhinged dystopia...Thomas Bunstead adds to an impressive resumé with a seamlessly literary and peppery translation from the Spanish.” \u003cem\u003e\u003cstrong\u003e—The Millions\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan style=\"color: #000000; font-family: arial, sans-serif;\" color=\"#000000\" face=\"arial, sans-serif\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, sans-serif;\" face=\"arial, sans-serif\"\u003e“\u003c\/span\u003eA taut novel, with lyrical prose . . . the protagonist’s mental state appears to explore madness, but in the end, one realizes the quest is for the truth of all things.”\u003cem\u003e\u003cstrong\u003e —World Literature Today\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The rewards that come from reading \u003cem\u003eJakarta\u003c\/em\u003e are manifold. . . . This is Tizano’s first novel, ably translated by Thomas Bunstead, but he has the boldness of someone who’s been at it for decades. It’s the beginning of a promising literary career.” \u003cem\u003e\u003cstrong\u003e—Star Tribune\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“This challenging, provocative short novel conjures fever-dreams of a city ravaged by plague . . . horror-touched rather than horror itself, with beguiling short chapters and a mad variety of interests. To show it all at once, Tizano dares readers to get a little lost.” \u003cstrong\u003e\u003cem\u003e—Shelf Awareness\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“\u003cspan\u003eSuperb. . . . this novel signals the arrival of a unique, important voice on the American literary landscape.\u003c\/span\u003e\u003cspan\u003e” \u003cem\u003e\u003cstrong\u003e—Southwest Review\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e“The non-linear structure, the density of the prose, the general weirdness of the setting mean you have to pay attention. That's a good thing. . . . Tizano’s distinctive style and his boundless imagination are a thrill to read.” \u003cem\u003e\u003cstrong\u003e—Locus Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cspan\u003eIt takes a text like \u003c\/span\u003e\u003cem\u003eJakarta,\u003c\/em\u003e\u003cspan\u003e I think, to remind us of the purpose of literature, or perhaps the multi-faceted nature of that purpose. . . . A wonderfully cathartic text, in the truest Aristotelian sense, one that tackles extremely difficult and unfortunately poignant subject matter and handles it with supremely gratifying deftness.” \u003cem\u003e\u003cstrong\u003e—Angel City Review\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e“Mind-blowingly original, powerful and stark prose, captivating rhythm, and haunting, memorable imagery. Tizano is a master of the uncanny.” \u003cstrong\u003e—Valeria Luiselli\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eJakarta\u003c\/em\u003e is a remarkable book, a layered exploration of a devastated world unlike anything I’ve ever read before. Patiently, strangely, these interconnected fragments reassemble into a nightmarish and beautiful hum—one meant to be experienced, not described. Let me press this apocalyptic book into your hands and say: \u003cem\u003ePrepare.\u003c\/em\u003e” \u003cstrong\u003e—Colin Winnette\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e“\u003cem\u003eJakarta\u003c\/em\u003e is what all novels should be and few are: a cultural narrative, a trace of unhinged civilization where individuals function like particles, suffering everything while aspiring to nothing but the cruel, unnoticed, even unwarranted heroism of the great anonymous histories.” \u003cstrong\u003e—Sergio Chejfec\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It’s also novels like this that make you want to stand up and applaud the translator, whoever and wherever that translator might be. The sonorous passages that sweep you inexorably on to the next page, the alliteration and at times dreamy poeticism of the language—it is something that must be wrestled with before being set down on paper in another language. So once again, I applaud you, Thomas Bunstead. And you, Rodrigo Márquez Tizano, future nightmares notwithstanding.” \u003cstrong\u003e\u003cem\u003e—Strange Horizons\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":21263988588621,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895637_FC.jpg?v=1551211406"},{"product_id":"the-book-of-anna","title":"The Book of Anna","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #77471f;\"\u003e\u003cstrong\u003eA novel by Carmen Boullosa, translated by Samantha Schnee\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #77471f;\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 14, 2020 • 5.5 x 8.25 • 200 pages • 978-1-56689-577-4\u003c\/h5\u003e\n\u003ch4\u003eIn this continuation of Anna Karenina’s legacy, Russia simmers on the brink of change and the stories that have long been kept secret finally come to light.\u003c\/h4\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSaint Petersburg, 1905. Behind the gates of the Karenin Palace, Sergei, son of Anna Karenina, meets Tolstoy in his dreams and finds reminders of his mother everywhere: the vivid portrait that the tsar intends to acquire and the opium-infused manuscripts Anna wrote just before her death, which open a trapdoor to a wild feminist fairy tale. Across the city, Clementine, an anarchist seamstress, and Father Gapon, the charismatic leader of the proletariat, plan protests that embroil the downstairs members of the Karenin household in their plots and tip the country ever closer to revolution. Boullosa tells a polyphonic and subversive tale of the Russian revolution through the lens of Tolstoy’s most beloved work. \u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eCarmen Boullosa—a Cullman Center, a Guggenheim, a Deutscher Akademischer Austauschdienst, and a Fondo Nacional para la Cultura y las Artes\u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003eFellow—was born in Mexico City in 1954. She’s a poet, playwright, essayist, novelist, and artist, and has been a professor at New York University, Columbia University, City College—City University of New York, Georgetown, and other institutions. She’s now at Macaulay Honors College—City University of New York. The New York Public Library acquired her papers and artist books. More than a dozen books and over ninety dissertations have been written about her work.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eSamantha Schnee is the founding editor of \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWords Without Borders,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e dedicated to publishing the world’s best literature translated into English. Her translation of Boullosa’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTexas: The Great Theft\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e was longlisted for the International Dublin Literary Award and shortlisted for the PEN America Translation Prize. She won the Gulf Coast Prize in Translation for her work on Boullosa’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEl complot de los Románticos.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Book of Anna\u003c\/em\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWords Without Borders\u003c\/em\u003e, Anticipated 2020 Titles\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Ms. Boullosa’s conceptual trick is to stage a collision between the dream life of the novel and the hard realities of politics. . . . The conceit drops the largely private, domestic story into the wider stream of history. Tolstoy would have hated this sort of intellectual game playing, but the subversion is perhaps even more fun for that. No surprise, it all ends with an explosion.” \u003cstrong\u003e—Sam Sacks, \u003cem\u003eWall Street Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The latest novel from one of Mexico’s finest experimental writers is a madcap metafictive romp that picks up a few decades after Tolstoy’s \u003cem\u003eAnna Karenina\u003c\/em\u003e leaves off. But it’s also an absurdist tour de force account of early revolutionary activity. . . . Reminiscent of Bolaño, Borges, and Pynchon, but Boullosa’s utterly original voice is at its best when it’s let loose.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“This superb translation from Spanish by Samantha Schnee, founding editor of \u003cem\u003eWords Without Borders\u003c\/em\u003e, is a book of nimble prose that deftly plays with the boundaries between fiction and history. Drawing together servants, diplomats, anarchists, seamstresses and aristocrats at the eve of the Russian Revolution, Boullosa brings heightened eroticism, feminism, and liberation to Tolstoy’s imagined world.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e—Lauren LeBlanc, \u003cem\u003eObserver\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“[A] succinct yet electrifying homage to Tolstoy’s \u003cem\u003eAnna Karenina\u003c\/em\u003e. . . . Boullosa both extends the lives of Tolstoy’s notorious characters into unforeseen territory and conceives new characters of her own who must face their own turbulent future, interweaving their stories into what should be considered a magnum opus.” \u003cstrong\u003e—\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[A] slim, playful sequel set in the early twentieth century that is deeply attuned to the concerns of the twenty-first. . . . Part \u003cem\u003eBluebeard’s Castle\u003c\/em\u003e, part \u003cem\u003eCinderella,\u003c\/em\u003e Anna’s text has a dreamlike, fairy-tale logic and is fueled by a smoldering eroticism. It reads like a feminist rebuke to her static portrait and to Tolstoy’s efforts to ‘fix’ or correct Anna on the page. . . . \u003cem\u003eThe Book of Anna\u003c\/em\u003e succeeds at defamiliarizing Tolstoy’s original, re-envisioning it through an entertaining feminist lens.”\u003cem\u003e\u003cstrong\u003e—Chicago Review of Books\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“[O]ffers a new twist to Anna Karenina that centers her children on the eve of the Russian Revolution. . . . Boullosa offers an original perspective on this Russian classic that may light the subversive spark lying dormant within.”\u003cstrong\u003e —\u003cem\u003eMs. Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[P]resented in parallel with stories and characters that were not part of Tolstoy’s 1878 novel, \u003cem\u003eThe Book of Anna\u003c\/em\u003e is also an imagining of the book that Anna herself was working on. . . . Boullosa tips the notion of fiction on its head. Set on the eve of the Russian Revolution, \u003cem\u003eThe Book of Anna\u003c\/em\u003e is told in a rich, unique style.”\u003cem\u003e\u003cstrong\u003e—Buzzfeed\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A masterwork in irony: playful and indulgent without ever becoming pretentious. The translation by Samantha Schnee glitters, firmly and fabulously navigating voice across class, time, and genre.” \u003cstrong\u003e—Rachael Daum, \u003cem\u003eWords Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[A] luminous translation by Samantha Schnee. . . . Boullosa has turned a feminist lens toward historical fiction.” \u003cstrong\u003e—\u003cem\u003ePloughshares\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[T]hreads characters from Leo Tolstoy’s masterpiece into an innovative narrative caper that blends history, fiction, and fairytale. . . . The sheer innovation of Boullosa’s multi-layered narrative presents the reader with a nesting doll of fictions and histories—threads that intertwine questions of self-hood, artistic creation, and the many-layered voices of political change.\u003cem\u003eThe Book of Anna\u003c\/em\u003e marks the rare achievement of a writer who balances the weight of Tolstoy’s complicated genius with her own interpretation of events, real and fictitious, with unmitigated brio and a touch of mischievous whimsy. It will surely become a modern classic.”\u003cem\u003e\u003cstrong\u003e—Paperback Paris\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“[An] experimental and playful novel that at once is a tribute to the book \u003cem\u003eAnna Karenina,\u003c\/em\u003e and also means to revise the portrayal of its central female character. . . . Boullosa continues to charm—though a shade darker—in a section that is written like a fairytale, ostensibly by Anna herself. It has recognizable aspects of \u003cem\u003eCinderella,\u003c\/em\u003e but in the shadow of Tolstoy’s book, it reads like a feminist treatise full of metaphors about fate, love, and ownership. . . . An innovative delight.”\u003cem\u003e\u003cstrong\u003e—The Book Slut\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The latest novel by prolific Mexican writer Carmen Boullosa, \u003cem\u003eThe Book of Anna\u003c\/em\u003e hinges on a paradoxical fantasy: rescuing Anna Karenina from Tolstoy. . . . Samantha Schnee’s excellent translation preserves Boullosa’s sudden shifts from comedy to didactic feminism to lyric weirdness, in a chatty present-tense that makes this mind-bending novel – an anarchic open-work of intertexts – a breezy read.” \u003cstrong\u003e—Claire Solomon, \u003cem\u003eReading in Translation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[C]lever and entertaining, with vivid characters and an absorbing story and even a short fairytale-like book written by Anna herself. It’s bursting with energy and life.” \u003cstrong\u003e—Rebecca Hussey, \u003cem\u003eBookRiot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Anna Karenina’s children and other fictions of Tolstoy’s—who know they aren’t exactly human—intertwine with Carmen Boullosa’s own fictions, who think they are real, and also with the Russian Revolution. A delightfully original and enjoyable book—Russian literature seen through Latin American eyes, and made into something new.” \u003cstrong\u003e—Salman Rushdie\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“What does it mean to say that a fictional character has so infused our collective imagination that she’s ‘taken on a life of her own’? And what if the very vitality of her fictional portrait is what seems to deny her the possibility of living that life—or telling it as her own story? Carmen Boullosa plants an anarcho-feminist bomb in the afterlife of Tolstoy’s novel—and then lovingly collects the scattered pages and bloodied rags that she’s let fly, assembling them into a dreamscape where author, character and reader might finally be pressed to recognize one another’s autonomous voice, and humanity. Historical and yet uncannily actual, readerly and yet deeply writerly, \u003cem\u003eThe Book of Anna\u003c\/em\u003e is a much-needed reminder of the performative power of fiction in unjust and turbulent times.” \u003cstrong\u003e—Barbara Browning\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A beguiling return to the world created by Tolstoy. This beautiful translation takes Anna Karenina’s story a step further, showing how a single tragedy ripples across generations.” \u003cstrong\u003e—Elliot Ackerman, author of \u003cem\u003eWaiting for Eden\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“For sheer inventiveness and mischievous brio, few contemporary novelists can match Carmen Boullosa. In this, one of her best novels, a nineteenth-century Russian masterpiece is both updated and turned on its head. Comedy and tragedy, realism and fantasy, are all blended flawlessly. The result is a delicious, spicy literary borscht.” \u003cstrong\u003e—Phillip Lopate\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003ePraise for Carmen Boullosa\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Carmen Boullosa writes with a heart-stopping command of language.” \u003cstrong\u003e—Alma Guillermoprieto\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A cross between Gabriel Garcia Marquez and W. G. Sebald.” \u003cstrong\u003e—\u003cem\u003eEl País\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This book occupies a Borgesian tradition in which possible and impossible exist simultaneously in one text.” \u003cstrong\u003e—John Trefry, \u003cem\u003eFull Stop\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[Boullosa] is witty, wacky, iconoclastic, post-modern, and thoroughly original.”\u003cstrong\u003e\u003cem\u003e —The Modern Novel\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Read Boullosa because she is a masterful commander of fantastic language.”\u003cstrong\u003e —\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eWords Without Borders\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Mexico's greatest woman writer.”\u003cstrong\u003e —Roberto Bolaño\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A luminous writer. . . . Boullosa is a masterful spinner of the fantastic.” \u003cstrong\u003e—\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eMiami Herald\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Utterly entertaining—a comic tour de force. I loved the book and think it deserves a very wide readership.” \u003cstrong\u003e—Philip Lopate\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Brutal, poetic, hilarious and humane...a masterly crafted tale.” \u003cstrong\u003e—Sjón\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A lucid translation from the Spanish by Samantha Schnee. . . . [Boullosa's] tale, loosely based on the Mexican invasion of the US known as the ‘Cortina troubles’, evok[es] a history that couldn’t be more relevant to today’s immigration battles in the US.” \u003cstrong\u003e—Jane Ciabattari, BBC\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":30238390779981,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895774_FC.jpg?v=1568235117"},{"product_id":"ornamental","title":"Ornamental","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Juan Cardenas, translated by Lizzie Davis\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJune 2, 2020 • 5 x 7.75 • 144 pages • 978-1-56689-580-4\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003eThe lives of a doctor, his wife, and his patient collide, laying bare the political and personal narratives they have carefully constructed for themselves.\u003c\/h3\u003e\n\u003cp\u003eA doctor recruits volunteers for the trial of a new recreational drug that exclusively affects women. Among them is “number 4,” who becomes emotionally involved with first the scientist, then his wife, a well-known visual artist in the midst of a creative crisis. The scientist is oblivious to the atrocities his new drug will bring to the city; his wife is oblivious to the superfluousness of the objects she has committed her life to exhibiting in galleries and museums. Number 4’s presence pierces the couple’s complacency, gradually undoing the many certainties they’ve accumulated in their lives of ease.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eJuan Cárdenas (1978) is a Colombian art critic, curator, translator, and author of the novels \u003cem\u003eZumbido\u003c\/em\u003e (451 Editores, 2010; Periférica, 2017), \u003cem\u003eLos estratos\u003c\/em\u003e (Periférica, 2013), \u003cem\u003eOrnamento\u003c\/em\u003e (Periférica, 2015), \u003cem\u003eTú y yo, una novelita rusa\u003c\/em\u003e (Cajón de sastre, 2016) and \u003cem\u003eEl diablo de las provincias\u003c\/em\u003e (Periférica, 2017). He is also the author of the short story collection \u003cem\u003eCarreras delictivas\u003c\/em\u003e (451 Editores, 2008). He has translated the works of such writers as William Faulkner, Thomas Wolfe, Gordon Lish, David Ohle, J. M. Machado de Assis, and Eça de Queirós. In 2014, his novel \u003cem\u003eLos estratos\u003c\/em\u003e received the Otras Voces Otros Ámbitos Prize. In May 2017, he was named one of the thirty-nine best Latin American writers under the age of thirty-nine by the Hay Festival in Bogotá. Cárdenas currently coordinates the masters program in creative writing at the Caro y Cuervo Institute in Bogotá, where he works as a professor and researcher.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLizzie Davis is a translator from Spanish to English and editor at Coffee House Press. Her recent projects include works by Pilar Fraile Amador, Daniela Tarazona, and Elena Medel, and her co-translation of Medel's \u003c\/span\u003e\u003ci\u003eLas maravillas\u003c\/i\u003e\u003cspan\u003e with Thomas Bunstead is forthcoming from Pushkin Press. She has received fellowships from the Omi International Arts Center and the Breadloaf Translators' Conference in support of her translations.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eOrnamental\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eFinalist for the 2021 PEN Translation Award\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“With pitch-black comedy, \u003cem\u003eOrnamental,\u003c\/em\u003e nimbly translated by Lizzie Davis, channels the ways that egomaniacs in science and art—in any field—rise to the top, up the pyramid of capitalism. . . . [T]he rhythm of Cárdenas’s writing compels and reassures, as if driven by the very humanity the lab has helped suppress.” \u003cstrong\u003e—Nathan Scott McNamara, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[A] work of subtlety and restraint. . . . What makes \u003cem\u003eOrnamental\u003c\/em\u003e so deeply affecting, however, is not that its pages come together to form a beautiful work of exterior art—though it does—but its ability to cast unease on our interior worlds. . . . Brilliantly executed and cleverly translated, \u003cem\u003eOrnamental\u003c\/em\u003e leaves us with a fresh understanding of the creation of art and the nature of meaning-making.” \u003cstrong\u003e—Dashiel Carrera, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In his thrilling novel \u003cem\u003eOrnamental\u003c\/em\u003e, Colombian art critic, translator, curator, and renowned author Juan Cárdenas masterfully tells the tale of the junction of an experimenting doctor, his wife, and his subsidized voluntary narcotic patient. . . . [E]xpertly translated by seasoned editor Lizzie Davis.” \u003cstrong\u003e—Ellie Simon, \u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are 'a single crush of old houses and ruins'. . . . the overall effect offers both thrills and chills.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[An] absurdist critique of class inequality. . . . Cárdenas also dabbles in art criticism and curation and uses that knowledge to acidic effect in a social drama that borders on the phantasmagorical. . . . with captivating moments.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003c\/span\u003eThis is the first of Cárdenas’s novels to be translated into English, with hopefully more to come, as he’s a supremely talented and original writer. \u003cem\u003eOrnamental\u003c\/em\u003e is a strange, dystopian tale about medical trials, in which a doctor studies women addicted to a mysterious recreational drug. Drugs will sadly always be associated with Colombia, but Cardenas’s surreal examination of addiction and compulsion is a unique and necessary contribution to the conversation.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e”\u003c\/span\u003e \u003cstrong\u003e—Julianne Pachico, \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eThe Guardian\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[A]n exhilarating, slippery narrative where the reader knows much truth can be found, if only they can figure out how to decipher it. . . .Cárdenas’s prose is economical yet lyrical; many of his images are veritable objets d’art. . . . Lizzie Davis has done a spectacular job rendering Cárdenas’s novel in English.” \u003cstrong\u003e—Gillian Esquivia-Cohen, \u003cem\u003eKenyon Review\u003c\/em\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003c\/span\u003eA pointed critique of late capitalism incarnated in today’s manipulative pharmaceutical industry, of rapid modernization in postcolonial contexts, and of facile arts. [\u003cem\u003eOrnamental\u003c\/em\u003e] showcases the impact of economic exploitation on the human body and desire, and probes the complicity of arts, architecture, philosophy, and language in capitalism’s crooked dynamics. \u003cmeta charset=\"utf-8\"\u003eI read translated literature to connect with my linguistic others, to get out of my skin, and see the world through the eyes of those I may never meet otherwise. Cárdenas’s novel and Davis’s translation did just that for me. Davis has masterfully rewritten Cárdenas’s novel in English.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e”\u003c\/span\u003e \u003cstrong\u003e—Sevinç Türkkan, \u003cem\u003eHopscotch Translation\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“Cardenas’s narrative style hangs on outlines and sketches that give the short novel an allegorical heft surprising for its slimness. . . .It’s in the unexpected reversal of focus, from the researcher to Number 4, from the moneyed to the impoverished, that \u003cem\u003eOrnamental\u003c\/em\u003e commits its boldest act and reminds us of the people sacrificed and ignored by the progress of science.” \u003cstrong\u003e—Sebastian Sarti, \u003cem\u003eCleveland Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women’s ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities—someone ‘threatening pain with extortion,’ someone ‘signing imagined telegrams of dried monkey meat,’ the night recovering, at last, ‘its vulgarity’—don’t give us any pause. And translator Lizzie Davis is the next generation’s Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish.” \u003cstrong\u003e—Forrest Gander\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed.” \u003cstrong\u003e—Alia Trabucco Zerán\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Cárdenas understands the great possibilities available to literary minimalism, taking advantage of them linguistically as well as politically, in careful strokes of theme and plot. A stunning novel about the entitlement of both the pharmaceutical industry and the art world, but also about desire, addiction, excess, and a security team made of spider monkeys. Perhaps the most damning fictional portrait of late capitalism I have ever read, at once absurd and startlingly relevant, \u003cem\u003eOrnamental\u003c\/em\u003e is a subtle and beautifully written nightmare.” \u003cstrong\u003e—Brian Evenson \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003ePraise for Juan Cárdenas\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eOrnamento\u003c\/em\u003e is a novel dense in ideas, witty in style, and close to prophetic in its condemnations.” \u003cstrong\u003e—Nadal Suau, \u003cem\u003eEl Cultural\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A novel of high density—in terms of ideas, plot, and language—\u003cem\u003eOrnamento\u003c\/em\u003e confirms that Juan Cárdenas is one of the most interesting writers working in the Spanish language today.” \u003cstrong\u003e—Daniel Saldaña París, \u003cem\u003eTierra Adentro\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Juan Cárdenas has conceived a maddeningly delightful, genuinely literary novel.” \u003cstrong\u003e—José de María Romero, \u003cem\u003eRevista de Letras\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The novels of Juan Cárdenas suggest that at times we can come close to understanding the terror of history.” \u003cstrong\u003e—Edmundo Paz Soldán, \u003cem\u003eEl boomeran(g)\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Rich in the lyricism and democratic polyphonies that constitute some of the best Latin American literature. Juan Cárdenas’s prose couldn’t be further from predictable literary language.” \u003cstrong\u003e—Marta Sanz, \u003cem\u003eEl confidencial\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“With this story, Cárdenas achieves, once again, a detailed description of the Latin American panorama, not by mentioning places or countries, but via the accents and attitudes of his characters.” \u003cstrong\u003e\u003cem\u003e—\u003c\/em\u003eVerónica Figueroa\u003cem\u003e, \u003c\/em\u003e\u003cem\u003eEl País\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The atmosphere of the novel ratchets up its unease by degrees, echoed by the dogs, whose initial unsettling barks become the terrifying howls of chained beasts.” \u003cstrong\u003e—Teresa Lezcano, \u003cem\u003eSur\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The works of Juan Cárdenas are disturbing and provocative.” \u003cstrong\u003e—Catalina Holguín Jaramillo, \u003cem\u003eRevista Arcadia\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":29363900743757,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895804_FC.jpg?v=1571423612"},{"product_id":"ramifications","title":"Ramifications","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Daniel Saldaña París, translated by Christina MacSweeney\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 13, 2020 • 5 x 8.25 • 176 pages • 978-1-56689-596-5\u003c\/h5\u003e\n\u003ch4\u003eA neurotic young man, self-confined to his bed, reflects on the turning point of his childhood: his mother’s disappearance.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFolding and refolding origami frogs, extracting the symmetrical veins from leaves, retreating to an imaginary world in his closet: after Teresa walked out the door one July afternoon in 1994, her son filled the void she left with a series of unusual rituals. Twenty-three years later, he lies in bed, reconstructing the events surrounding his mother’s disappearance. Did she actually join the Zapatistas in the jungles of Chiapas, as he was led to believe? He dissects his memories of that fateful summer until a startling discovery shatters his conception of his family. Daniel Saldaña París (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmong Strange Victims\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e) returns with an emotionally rich anti-coming-of-age novel that wrestles with the inherited privileges and atrocities of masculinity.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cstrong\u003eDaniel Saldaña París\u003c\/strong\u003e is an essayist, poet, and novelist born in Mexico City. His first novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmong Strange Victims\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, published to critical acclaim in 2016, was a finalist for the Best Translated Book Award. He has been a fellow at Union des Écrivaines et des Écrivains Québécois, the Omi International Arts Center, The Banff Centre, and The MacDowell Colony. His work has appeared in BOMB!, Guernica, LitHub.com, Electric Literature, The Guardian, El País, and on KCRW’s Unfictional, among others. In 2017 he was named by the Hay Festival as one of the best Latin-American writers under the age of 40.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cstrong\u003eChristina MacSweeney\u003c\/strong\u003e was awarded the 2016 Valle Inclán Translation Prize for her translations of Valeria Luiselli’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Story of My Teeth\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and her translations of Daniel Saldaña París’s novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmong Strange Victims\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e was a finalist in the 2017 Best Translated Book Award. In 2017 she published a translation of Elvira Navarro’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Working Woman\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, followed in 2018 by \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEmpty Set \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(Verónica Gerber Bicecci), and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTomb Song\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe House of the Pain of Others\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Julián Herbert), all of which have received critical acclaim. Her work has also been included in various anthologies of Latina American Literature. Christina also collaborated with Verónica Gerber Bicecci on the bilingual book \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePalabras migrantes \/ Migrant Words\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. Her translations of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBring Me the Head of Quentin Tarantino\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Julián Herbert) \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn Lighthouses\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a book-length essay by Jazmina Barrera, and Elvira Navarro’s short story collection \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRabbit Island\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e are forthcoming in 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eRamifications\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eThe Millions,\u003c\/em\u003e “Most Anticipated”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“[S]trange and elegant. . . . París brilliantly explores memory, masculinity, and familial drama in equal measure. The result is an affecting account of arrested development.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A Dostoyevskian tale set in the Mexico City of today.” \u003cstrong\u003e\u003cem\u003e—Kirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Paced like a detective thriller, this slim novel contains hard-boiled meditations on masculinity, personal responsibility and the plasticity of memory.” \u003cstrong\u003e—Connor Goodwin, \u003cem\u003eSeattle Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In Daniel Saldaña París’s resonant novel \u003cem\u003eRamifications,\u003c\/em\u003e an eventful summer has ripple effects that last decades. . . . a rich, smart, and satisfying rendering of abandonment and loss, whose effects reverberate through time.” \u003cem\u003e\u003cstrong\u003e—Foreword Reviews\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“[A] sinister little book suffused with a biting humor and morbid curiosity. This 'mom-gone-missing' story reels you in only to ensnare you into the dark corners of a neurotic young man's mind. I couldn't help but fall completely headlong into this rousing carousel of toxic machismo and emotional depravity—more please!” \u003cstrong\u003e—Uriel Perez, \u003cem\u003eBookPeople\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eRamifications\u003c\/em\u003e is a masterful and devastating fairy tale about the particular loneliness of a child lost in the woods of machismo and social revolts.” \u003cstrong\u003e—Alejandro Zambra\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eRamifications\u003c\/em\u003e is a haunting, hallucinatory tale of a man trying to make sense of his mother’s escape from a stifling middle class life and dead-end marriage to return to her long-dormant revolutionary agitations in Chiapas. This unthinkable—and yet, understandable—abandonment leads us through a harrowing adventure and, ultimately, to the terrifying truth. Daniel Saldaña París brilliantly folds this story into itself, deftly dissolving time and reality, while constructing an intricate, intimate origami of heartbreak, dark humor, familial fractures and profound dispossession.”\u003cstrong\u003e—Tanaïs\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for \u003cem\u003eAmong Strange Victims\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Brief, brilliantly written, and kissed by a sense of the absurd. . . . Like a much lazier, Mexico City version of Dostoevsky’s \u003cem\u003eUnderground Man\u003c\/em\u003e.” \u003cstrong\u003e\u003cem\u003eFresh Air,\u003c\/em\u003e NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Great fun are the jabs at academia, Mexico City and the dusty town where the action, or inaction, moves after Rodrigo meets Marcelo, a Spanish cretin with a Ph.D. in aesthetics. These flameless flâneurs humph and hump, personifying urban malaise.” \u003cstrong\u003e\u003cem\u003e—New York Times Sunday Book Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Full of odd twists and surprises. Among the high points are Saldaña París’ exasperated but affectionate paeans to ‘the immense, beautiful city’ that is Mexico’s capital. Though a study of slothfulness and its discontents, a welcome book on which the author has clearly expended energy.” \u003cstrong\u003e\u003cem\u003e—Kirkus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The novel takes some bizarre turns as Marcelo leads Rodrigo into experiments involving drugs, tequila, hypnosis and more, all in the name of transformation. If the young man’s notion of radical change is to take part in his life rather than observe it from afar, he’s off to a good start.” \u003cstrong\u003e\u003cem\u003e—New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Saldaña París’s first novel to be translated Stateside is a leisurely story of slacking off that’s nicely conveyed in a sharp, cynical tone. . . . Read this messy, shaggy picaresque for its ample page-by-page pleasures, which include devilishly clever syntax, a charming tendency to digress, and satisfying flashes of Rodrigo and Marcelo getting their act together.” \u003cstrong\u003e\u003cem\u003e—Publishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“For all Saldaña París’ sharp wit, \u003cem\u003eAmong Strange Victims\u003c\/em\u003e is about waking up to the world’s brighter possibilities.” \u003cstrong\u003e—NPR\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":32218549518413,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566895965_FC_56130041-2ded-408e-b922-79d7e15f1f03.jpg?v=1586362875"},{"product_id":"variations-on-the-body","title":"Variations on the Body","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eStories by María Ospina, translated by Heather Cleary\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eJuly 6, 2021 • 5 x 7.75 • 136 pages • 978-1-56689-610-8\u003c\/h5\u003e\n\u003ch4 style=\"text-align: left;\"\u003eA constellation of short stories illustrate the intersecting lives of women on various peripheries of society in and around Bogotá, Colombia.\u003c\/h4\u003e\n\u003cp\u003eIn six subtly connected stories, \u003cem\u003eVariations on the Body\u003c\/em\u003e explores the obsessions, desires, and idiosyncrasies of women and girls from different strata of Colombian society. A former FARC guerilla fighter adjusts to urban life and faces the new violence of an editor co-opting her experiences. A woman adrift in the city she left as a child looks for someone to care for, even if it has to be by force, while another documents a flea infestation with a catalog of the marks on her flesh. A little girl copes with her anxiety about the adult world by exacting revenge on her nanny, who she thinks belongs to her. Combining humor, heartbreak, and unexpected violence, Ospina constructs a keen reflection on the body as a simultaneous vehicle of connection and alienation in vibrant, gleaming prose.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaría Ospina was born in Bogotá, Colombia, and teaches Latin American culture at Wesleyan University. She has written about memory, violence, and culture in contemporary Colombia. Her stories have appeared in anthologies in Colombia and Italy. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAzares del cuerpo,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e her first book of fiction, has been published in Colombia, Chile, Spain, and Italy.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eHeather Cleary’s translations include Betina González’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eAmerican Delirium,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e Roque Larraquy’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eComemadre\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e (nominee, National Book Award for Translated Literature 2018), and Sergio Chejfec’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eThe Planets \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e(finalist, Best Translated Book Award 2013) and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eThe Dark \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e(nominee, National Translation Award 2014). A member of the Cedilla \u0026amp; Co. translation collective and a founding editor of the digital, bilingual \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eBuenos Aires Review,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e she teaches at Sarah Lawrence College.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003e\u003cbr\u003ePraise for \u003cem\u003eVariations on the Body\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eChicago Review of Books, \u003c\/em\u003e“12 Must-Read Books for July”\u003cem\u003e\u003cbr\u003eThe Rumpus,\u003c\/em\u003e “What to Read When You Want to Celebrate Women's History”\u003cbr\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e “Must-Read Books in Translation”\u003cbr\u003e\u003cem\u003eLiterary Hub,\u003c\/em\u003e“The Best of Independent Presses this July”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Somatic upsets express the psychic fallout of violent conflict in Colombia, where women wrestle with how to steer a life. . . . Cleary, a National Book Award nominee for her translation of Roque Larraquy’s \u003cem\u003eComemadre,\u003c\/em\u003e preserves the muted suggestiveness of Ospina’s prose.” \u003cstrong\u003e—Tracy O’Neill, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In Ospina’s smart, vibrant debut collection, women struggle to carve out lives for themselves. . . . Ospina draws out the class distinctions among her characters with stark, incisive contrasts.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Bold and penetrating.” —\u003cb\u003eKarla J. Strand, \u003ci\u003eMs. Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Short stories fans in search of a new obsession, look no further. . . . Weaving together a complex interconnected portrait of girls and women in Bogotá, Colombia, this crystalline translation from Heather Cleary has an offbeat sensibility reminiscent of Joy Williams, where the potential for inexplicable violence exists alongside the mundane.” \u003cem\u003e\u003cstrong\u003e—Chicago Review of Books\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Some women attempt to control their own narratives by way of controlling their bodies . . . while others are intrigued to the point of obsession by the narratives and bodies of others. Men exist on the periphery, but these are women-led and women-focused stories. . . . Ospina manages to address themes of control, intrastate conflict, and women’s bodies while keeping her reader inside the story.” \u003cstrong\u003e—Zoe Goldstein, \u003cem\u003eWorld Literature Today\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“Creates striking parallels throughout. . . . \u003cem\u003eVariations on The Body\u003c\/em\u003e is interested in how a body is edited and modified to be presented to others.” \u003cstrong\u003e—Sarah McEachern,\u003cem\u003e The Rupture\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Debut story collections don't come any finer than María Ospina's \u003cem\u003eVariations on the Body.\u003c\/em\u003e The Colombian author's first work of fiction contains six short pieces, each unique and memorable in their own way. With Colombian women as her protagonists, Ospina's leads yearn at the margins, crave connection, discover and explore their own agency, and seek growth, change, or amelioration of their outsider status. Ospina writes with poise, profundity, and enviable emotional intelligence. Her characters, perfectly imperfect, are imbued with authenticity and the cunning wherewithal to navigate a senseless world of violence, disregard, and neglect. \u003cem\u003eVariations on the Body\u003c\/em\u003e is an outstanding collection of short fiction and María Ospina is definitely a writer to watch (and await more from).” \u003cstrong\u003e—Jeremy Garber, Powell's Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Thematically, with its emphasis on the complex interplay between psychology and the female body, Ospina’s work recalls that of the Argentine writers Mariana Enriquez and Samanta Schweblin, albeit without the horror tropes that those writers employ. Ospina’s aesthetic is overtly realist, and her style is grounded in the careful accumulation of details that add up to a greater whole.” \u003cb\u003e—Kathleen Solomon, \u003cem\u003eChicago Review of Books\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Throughout these stories, women take care of other women, women resist or succumb to the violence and demands of society, and women contemplate the beautiful. . . . Not a catalog of all the ways a female body is blatantly battered by society, but rather a gentle and nuanced exploration of female physical existence in Bogotá.” —\u003cb\u003eBrittany Cole, \u003ci\u003eSlanted Spines\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“María Ospina has created an artifact that's both luminous and dark, tender and cruel, whose inhabitants move in a shared space sculpted by violence—the narcoguerrilla and its tentacles. Within these pages, there shines a fine and beautiful diamond of sharp, fearsome faces.” \u003cstrong\u003e—Carmen Boullosa\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Ospina is a remarkable talent, and Heather Cleary, an extraordinary translator. I love the offbeat, flea-bitten reality \u003cem\u003eVariations on the Body\u003c\/em\u003e captures: Marxist guerillas, stray dogs, dolls, vivid dreams. It’s as if Ospina has cut beautiful, odd scraps from our world using her own unique writer-made scissors.” \u003cstrong\u003e—Camilla Grudova\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":33003074945101,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896108_FC.jpg?v=1599835860"},{"product_id":"jawbone","title":"Jawbone","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Mónica Ojeda, trans. Sarah Booker\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eFebruary 8, 2022 • 5.5 x 8.25 • 272 pages • 978-1-56689-621-4\u003c\/h5\u003e\n\u003ch4\u003e“Was desire something like being possessed by a nightmare?”\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eFernanda and Annelise are so close they are practically sisters: a double image, inseparable. So how does Fernanda end up bound on the floor of a deserted cabin, held hostage by one of her teachers and estranged from Annelise?\u003cbr\u003e\u003cbr\u003eWhen Fernanda, Annelise, and their friends from the Delta Bilingual Academy convene after school, Annelise leads them in thrilling but increasingly dangerous rituals to a rhinestoned, Dior-scented, drag-queen god of her own invention. Even more perilous is the secret Annelise and Fernanda share, rooted in a dare in which violence meets love. Meanwhile, their literature teacher Miss Clara, who is obsessed with imitating her dead mother, struggles to preserve her deteriorating sanity. Each day she edges nearer to a total break with reality.\u003cbr\u003e\u003cbr\u003eInterweaving pop culture references and horror concepts drawn from Herman Melville, H. P. Lovecraft, and anonymous “creepypastas,” \u003cem\u003eJawbone\u003c\/em\u003e is an ominous, multivocal novel that explores the terror inherent in the pure potentiality of adolescence and the fine line between desire and fear.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eMónica Ojeda (Ecuador, 1988) is the author of the novels\u003cem\u003e La desfiguración Silva\u003c\/em\u003e (Premio Alba Narrativa, 2014), \u003cem\u003eNefando\u003c\/em\u003e (Candaya, 2016), and \u003cem\u003eMandíbula\u003c\/em\u003e (Candaya, 2018), as well as the poetry collections \u003cem\u003eEl ciclo de las piedras\u003c\/em\u003e (Rastro de la Iguana, 2015) and \u003cem\u003eHistoria de la leche\u003c\/em\u003e (Candaya, 2020). Her stories have been published in the anthology \u003cem\u003eEmergencias: Doce cuentos iberoamericanos\u003c\/em\u003e (Candaya, 2014) and the collections \u003cem\u003eCaninos\u003c\/em\u003e (Editorial Turbina, 2017) and \u003cem\u003eLas voladoras\u003c\/em\u003e (Páginas de Espuma, 2020). In 2017, she was included on the Bógota39 list of the best thirty-nine Latin American writers under forty, and in 2019, she received the Prince Claus Next Generation Award in honor of her outstanding literary achievements.\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eSarah Booker (North Carolina, 1989) is a doctoral candidate at the University of North Carolina at Chapel Hill with a focus on contemporary Latin American narrative and translation studies. She is a literary translator working from Spanish to English and has translated, among others, Cristina Rivera Garza’s \u003cem\u003eThe Iliac Crest\u003c\/em\u003e (Feminist Press, 2017; And Other Stories, 2018) and \u003cem\u003eGrieving: Dispatches from a Wounded Country\u003c\/em\u003e (Feminist Press, 2020) and Mónica Ojeda’s \u003cem\u003eJawbone\u003c\/em\u003e (Coffee House Press, 2021). Her translations have also been published in journals such as the \u003cem\u003eParis Review, Asymptote, Latin American Literature Today, 3:am magazine, Nashville Review, MAKE,\u003c\/em\u003e and \u003cem\u003eTranslation Review.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eJawbone\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript type=\"text\/javascript\" src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\" src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eFinalist for the 2022 National Book Award for Translated Literature\u003cbr\u003eFinalist for the 2023 Lambda Literary Award in Lesbian Fiction\u003cbr\u003eLonglisted for the 2023 PEN Translation Prize\u003cem\u003e\u003cbr\u003eThe New York Times,\u003c\/em\u003e “New Books in Translation”\u003cbr\u003e\u003cem\u003eThe A.V. Club,\u003c\/em\u003e “Books to Read in February”\u003cbr\u003e\u003cem\u003eWords Without Borders,\u003c\/em\u003e “Most Anticipated”\u003cbr\u003eFebruary Indie Next List\u003cbr\u003e\u003cem\u003eLitReactor,\u003c\/em\u003e “2022 Horror You Do Not Want to Miss”\u003cbr\u003e\u003ci data-mce-fragment=\"1\"\u003eMs. Magazine, \u003c\/i\u003e“Favorite Books of 2022”\u003cbr\u003e\u003cem\u003eLatinx in Publishing,\u003c\/em\u003e “Most Anticipated 2022 Latinx Books”\u003cbr\u003eRiffraff Bookstore, “Favorites of 2022”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This bodily, propulsive narrative re-envisions mainstays of the Latin American novel for a 21st-century feminist sensibility based in Internet creepypastas, true crime, and women’s autonomy. Expertly characterizing her protagonists while providing an engrossing, compelling story, Mónica Ojeda has hewn out her own version of contemporary gothic set in Ecuadorian culture. Sarah Booker’s fluid translation admirably attends to the book’s many complicated voices, situations, and registers.” \u003cstrong\u003e—Judges’ Citation, 2022 National Book Award in Translated Literature\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Strange, twisted . . . . Ojeda, who was named one of Granta’s best young Spanish-language novelists, writes with a polyphonic verve, agilely translated by Booker. Her language, like adolescence itself, is unruly and excessive, full of dramatic shifts and capable of both beauty and horror.” \u003cstrong\u003e—Anderson Tepper, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Six girls in a private Catholic high school in Ecuador turn to the occult in Mónica Ojeda’s macabre English-language debut novel, \u003cem\u003eJawbone\u003c\/em\u003e. The girls’ ringleader, Annelise, entertains her friends with tales of a made-up deity and eggs them on with strange dares. Soon enough, she and her friend Fernanda are falling in love, raising the stakes of Annelise’s fabricated creepypasta. Ojeda has drawn comparisons to Shirley Jackson, H.P. Lovecraft, and Edgar Allen Poe.” \u003cem\u003e\u003cstrong\u003e—The A.V. Club\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eJawbone \u003c\/em\u003edepicts the process of becoming a woman as the ultimate horror story. . . . With terrifying ease, Ojeda illustrates how womanhood is characterized by dualities: fearful and feared, desired and desiring.” \u003cstrong\u003e—Morgan Graham,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e Chicago Review of Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Rife with gothic body horror and the darkness of the jungle and within ourselves. . . . Ojeda is a strikingly singular voice, combining basic teen angst with stark madness and the power of teen girls to push back in a world that tries to make them powerless.” \u003cstrong\u003e—Yvonne C. Garrett,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e The Brooklyn Rail\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Delectable. . . . There are echoes of Lovecraft and Shirley Jackson at play, but the vision is ultimately Ojeda’s own—delicious in how it seduces and disturbs the reader as the girls rely on horror both as entertainment and as a way of staving off the actual terrors of growing up. This is creepy good fun.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Edgar Allan Poe meets a few of the mean girls. . . . Mother-daughter relationships slide under Ojeda’s microscope, sharing space with the teacher-student dynamic and deities as objects in an exploration of power and sexuality during adolescence. . . . Every good horror story needs a victim; Ojeda’s monsters and victims wear the same faces.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eJawbone \u003c\/em\u003edistinguishes itself through fevered brilliance. . . . Like the strange bloom of a corpse flower, the novel evokes life, death, and a vortex of twisted beauty.” \u003cstrong\u003e—Meg Nola, \u003cem\u003eForeword Reviews, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A wild, dirty, surreal, creepy narrative. . . . This novel, which explores the interstices between genres, shows what can happen when a writer digs deep into language while looking for darkness, for the unexplainable, for blood. . . . A dynamic, engrossing reading experience.” \u003cstrong\u003e—Gabino Iglesias, \u003cem\u003eSouthwest Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mónica Ojeda is one of the most powerful and provocative voices in Latin American literature today. Her influences span from H.P. Lovecraft to Stephen King’s \u003ci\u003eCarrie,\u003c\/i\u003e to anonymous internet horror legends called ‘creepypastas.’ In her novel \u003ci\u003eJawbone, \u003c\/i\u003eOjeda explores the darkest aspects of women’s relationships in the suffocating atmosphere of an Opus Dei school for girls in Ecuador. In her multivocal and lyrical prose, Ojeda demonstrates the pernicious ways that violence against women can be exercised and reveals how victims can be transformed into perpetrators.”\u003cb\u003e —Rose Bialer, \u003ci\u003eAsymptote\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Sometimes a meditation on horror storytelling in all of its forms and sometimes a full-blown example of it. . . . Annelise (and, by proxy, Ojeda) are onto something about the primal appeal of horror literature; what Ojeda seems to be doing here, in part, is pushing that theory to its limits, and learning just how unsettling that can be.” \u003cstrong\u003e—Tobias Carroll, \u003cem\u003eOn the Seawall\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It might be the most harrowing novel I’ve read in a decade. . . . As an example of top-grade horror (and frankly top-grade literature), there’s very little that will be published this year, or any year, that will surpass this devastating novel.” \u003cstrong\u003e—Ian Mond, \u003cem\u003eLocus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Hits the sweet spot of novels under 300 pages. . . . And we always need more translated horror.” \u003cstrong\u003e—Sadie Hartmann, \u003cem\u003eLitReactor\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The horror exists in, and is generated by, a delicious but unsettling uncertainty of self and non-self whereupon realities are created and cast off. . . . Ojeda’s poetic craft shines through \u003cem\u003eJawbone\u003c\/em\u003e’s prose. It’s a deeply visual book in which seemingly transparent images introduced early on are lacquered over with layers of meaning as the story progresses, building a patina of dread.” \u003cstrong\u003e—Annabella Farmer, \u003cem\u003eSanta Fe Reporter\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dark academy meets existential horror in this scintillating and unsettling novel of friendship, adolescence, and ‘inquietude.’ When a group of friends find an abandoned building, their most charismatic member slowly escalates their afternoons of scary stories and dares into a secret society of dangerous rituals and potentially deadly consequences. The characters are entrancing, the ideas are insightful, and the prose itself is thrilling.” \u003cstrong\u003e—Josh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mónica Ojeda is fearless in her approach to both themes and style. She deals with horror and desire like few others, with a beauty so extreme that it sometimes leaves you gasping. In \u003cem\u003eJawbone,\u003c\/em\u003e an elite Catholic school becomes the stage for nightmares fueled by obsession, creepypastas, and teenagers crazed by hormones and horror movies. But in the end, the novel is about Mónica’s primary concerns: sexuality, violence, and how a story about the damaged and the lost can be told with such beauty and relentlessness. She scares me, and she amazes me, and I think she is one of the most important writers working in Spanish today.” \u003cstrong\u003e—Mariana Enríquez\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eJawbone\u003c\/em\u003e is a dark fairy tale in which a group of girls become adults on their own, taking blood oaths with cruelty, torture, and vengeance. This book summons the evil spirits that surround all adolescence, and they’re made to speak straight into our ears. As chilling as it is necessary, like all of Ojeda’s work.” \u003cstrong\u003e—María Fernanda Ampuero\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Mónica Ojeda has at her disposal the most enviable combination I can imagine, and she has it in spades: a lucid mind, an exacting language, and a wild heart.”\u003cstrong\u003e \u003cstrong\u003e—Andrés Barba\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39286846586957,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/Jawbonemedallion.png?v=1674492000"},{"product_id":"when-women-kill","title":"When Women Kill: Four Crimes Retold","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eNonfiction by Alia Trabucco Zerán, trans. Sophie Hughes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eApril 5, 2022 • 5 x 7.75 • 256 pages • 978-1-56689-633-7\u003c\/h5\u003e\n\u003ch4\u003eA genre-bending feminist account of the lives and crimes of four women who committed the double transgression of murder, violating not only criminal law but also the invisible laws of gender.\u003c\/h4\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhen Women Kill: Four Crimes Retold \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eanalyzes four homicides carried out by Chilean women over the course of the twentieth century. Drawing on her training as a lawyer, Alia Trabucco Zerán offers a nuanced close reading of their lives and crimes, foregoing sensationalism in order to dissect how all four were both perpetrators of violent acts and victims of another, more insidious kind of violence. This radical retelling challenges the archetype of the woman murderer and reveals another narrative, one as disturbing and provocative as the transgressions themselves: What makes women lash out against the restraints of gendered domesticity, and how do we—readers, viewers, the media, the art world, the political establishment—treat them when they do?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eExpertly intertwining true crime, critical essay, and research diary, International Booker Prize finalist Alia Trabucco Zerán (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Remainder\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e), in a translation by Sophie Hughes, \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ebrings an overdue feminist perspective to the study of deviant women.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAlia Trabucco Zerán was born in Chile in 1983. She was awarded a Fulbright scholarship for a master’s in creative writing in Spanish at New York University, where she wrote her debut novel \u003cem\u003eLa resta\u003c\/em\u003e (\u003cem\u003eThe Remainder\u003c\/em\u003e). \u003cem\u003eLa resta\u003c\/em\u003e won the prize for Best Unpublished Literary Work awarded by the Consejo Nacional del Libro de Chile, and was shortlisted for the Man Booker International in 2019. It has been translated into seven languages. \u003cem\u003eLas homicidas\u003c\/em\u003e is her second book. She lives between Santiago and London.\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eSophie Hughes is a British translator of Spanish-language writers such as Alia Trabucco Zerán, Fernanda Melchor, and Enrique Vila-Matas. She has been nominated three times for the International Booker Prize, as well as for the Dublin Literary Award, the Valle Inclán Translation Prize, the National Book Award in Translation, the PEN Translation Prize, the National Translation Award in Prose, and the Andrew Carnegie Medal for Excellence in Fiction.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003ci\u003eWhen Women Kill\u003c\/i\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1100, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003eWinner of the 2022 British Academy Book Prize for Global Cultural Understanding\u003cbr\u003eFinalist for the 2022 National Book Critics Circle Award in Criticism\u003ci\u003e\u003cbr\u003eThe New York Times, \u003c\/i\u003e“New Books in Translation”\u003cbr\u003e\u003cem\u003eThe New York Times,\u003c\/em\u003e “6 New True Crime Books”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003ci\u003eThe Millions, \u003c\/i\u003e“Most Anticipated”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eBook Riot,\u003c\/em\u003e “24 Must-Read 2022 Books in Translation”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Using court records, newspaper articles and museum exhibits—which she punctuates with her own whip-smart diary entries—Trabucco Zerán reconstructs each crime scene, backdrop and all.” \u003cstrong\u003e—Tina Jordan, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Trabucco Zerán, well translated by Sophie Hughes, is a moving, imaginative writer—which is important, given that her four subjects are ‘genuine wrongdoers, proven killers, [and] almost irredeemable beings.’ . . . [\u003ci\u003eWhen Women Kill\u003c\/i\u003e] applies a thoughtful feminist lens to stories as painful as they are gory.” \u003cb\u003e—Lily Meyer, NPR\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A highly original and beautifully written work, which uncovers uncomfortable truths about a society and its attitudes to female homicides. This is a timely and important work that invites the reader to reconsider the relationship between gender and violence—not just in Chile but globally. Trabucco Zerán has applied her legal training to the creation of this outstanding book, reminding us that research takes many forms and is not only the preserve of the academic world.” \u003cstrong\u003e—Judges’ citation, British Academy Book Prize for Global Cultural Understanding\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Throughout, the language is both precise and evocative, and the author’s evaluation of the various circumstances is readable, trenchant, and intersectional. A formally inventive, lyrical, feminist analysis of Chile’s famous female murderers.” \u003cb\u003e—\u003ci\u003eKirkus, \u003c\/i\u003estarred review\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“By bringing these unexamined tales to light, the hybrid nature of \u003ci\u003eWhen Women Kill\u003c\/i\u003e is persuasive in its insistence on looking deeper, echoing the fluctuations in the perceptions of womanhood. . . . Weaving together multiple literary styles and a wide range of voices, \u003ci\u003eWhen Women Kill\u003c\/i\u003e constantly remolds and blends genres, culminating in an irresistibly compelling read.” \u003cstrong\u003e—Suhasini Patni, \u003ci\u003eAsymptote Journal\u003c\/i\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Trabucco Zerán’s project is not to endorse their crimes, nor to sensationalize them—she is critical and unsparing in her analysis. Rather, \u003cem\u003eWhen Women Kill\u003c\/em\u003e reveals how narratives and cultural systems work in the wake of women’s crimes.” \u003cstrong\u003e—Morgan Graham, \u003cem\u003eCleveland Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eWhen Women Kill\u003c\/i\u003e takes on an ambitious series of goals—to recount the stories of four killings, to find connections between all of them, and to show how they relate to a societal progression in Chile. To her credit, she succeeds—and the resulting work is one that true crime buffs and fans of cultural history can appreciate in equal measure.” \u003cb\u003e—Tobias Carroll, \u003ci\u003eWords Without Borders\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A fascinating must-read for all true crime fans, a book that I annotated, starred, dogeared, and just generally obsessed over. . . . Brilliant.” \u003cstrong\u003e—Leah Rachel von Essen, \u003cem\u003eBook Riot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“In propulsive prose impeccably translated by Sophie Hughes, Trabucco Zerán recounts each case. . . . Like other great books of crime writing, \u003cem\u003eWhen Women Kill\u003c\/em\u003e is more about society’s response to violence than the violence itself. Trabucco Zerán doesn’t excuse her killer women, nor does she condemn them. Instead, she explores how, in a sexist society, the reaction to their crimes is all too predictable.” \u003cstrong\u003e—Henry Hietala, \u003cem\u003eRain Taxi Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A vital and beautifully written book. . . . Equal parts essay, detective story, diary, and feminist discourse, its most moving and brilliant moment may be when Trabucco Zerán dramatizes the only case not yet depicted in art: the portrait of a new Medea, tragic and unsettling, but more than that, transgressive, hungry for another life.” \u003cstrong\u003e—Giuseppe Caputo\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“An outstanding work of archival research. Trabucco Zerán incorporates her diary into her investigation. A smart, rigorous, and necessary book.”\u003cstrong\u003e —Liliana Colanzi, \u003cem\u003eEl País\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003e“This essay turns a stark gaze upon the condition of women in Chile in the last century.”\u003cem\u003e \u003c\/em\u003e\u003cstrong\u003e—Nona Fernández\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eWhen Women Kill\u003c\/em\u003e is a magnificent work of creative nonfiction: provocative, intelligent, and moving. In it, Alia Trabucco Zerán makes use of her talents as a writer and researcher to reconstruct the complex stories of four women accused of violent crimes in the twentieth century. The result is a masterful and pertinent account full of humanity and emotion.” \u003cstrong\u003e—Fernanda Melchor\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“This brilliant essay paints a cogent and unsparing portrait of the rhetorical operations of the patriarchy.” \u003cstrong\u003e—Lina Meruane\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for \u003cem\u003eThe Remainder\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eKirkus,\u003c\/em\u003e “Best Fiction of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eKirkus,\u003c\/em\u003e “Best Fiction in Translation of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eShortlisted for the 2019 Man Booker International Prize\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eVanity Fair,\u003c\/em\u003e “Best Books of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eEntropy,\u003c\/em\u003e “Best of 2019”\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A lyrical evocation of Chile’s lost generation, trying ever more desperately to escape their parents’ political shadow.” \u003cstrong\u003e—Man Booker International Judges\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\"This novel is vividly rooted in Chile, yet the quests at its heart—to witness and survive suffering, to put an intractable past to rest—are universally resonant.\"\u003cem\u003e\u003cstrong\u003e —Publishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A centrifugal story of death, history, and mathematics . . . a debut that leaves the reader wanting more.”\u003cem\u003e\u003cstrong\u003e —Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“You could call \u003cem\u003eThe Remainder\u003c\/em\u003e a literary kaleidoscope: look at it one way and you see how the past lays a crippling hand on the generation that follows political catastrophe; shift the focus and you’re plunged into a darkly comic road trip with a hungover trio in an empty hearse chasing a lost coffin across the Andes cordillera.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —The Spectator\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“While writers such as Pedro Lemebel and José Donoso have explored the regime’s impact on those who lived through it, Zerán is concerned with the next generation. Felipe, Iquela and Paloma are the children of ex-militants, attempting to “unremember” the past in Chile’s haunted capital, Santiago.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —TIME\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“The second-generation trauma narrative gets a Chilean spin in Zerán’s intense novel of interior monologues, which is Faulknerian in themes, structure, and style.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —Vulture\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A mesmerizing, roaming look at intergenerational trauma, told in a specific and surreal style that shimmers and shifts on the page and in the mind.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —Nylon\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Truly stunning, full of deft turns of phrase. . . . Shines especially bright when unwinding Felipe’s melodic monologues.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —Los Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“Deeply compelling.”\u003cstrong\u003e \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e—The Guardian\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“A haunted novel, awash with sinister and elegiac moods. It stands as a testament to the way the past can unsettle us.”\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e —Star Tribune\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e“Neither the characters nor the narrative ever deal directly with the historic events themselves, but rather with the fallout – the photographs, vocabulary, places and people left behind as remnants. Zerán seamlessly alternates between the voices of Iquela and Felipe, highlighting the opposing and gendered ways they have reacted to the circumstances of their childhood.”\u003cem\u003e\u003cstrong\u003e —The Times Literary Supplement\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eThe Remainder\u003c\/em\u003e controls a remarkable range of registers (it is, by turns, lyrical, elegiac, sensual, funny, tragic). The author, like her characters, is obsessed with words, those ‘cracks in language’ that house our particular ways of understanding things. This novel is sure to endure.” \u003cstrong\u003e—Edmundo Paz Soldán\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A powerful, impressive novel, dotted with scenes that are as unique as they are unforgettable.”\u003cstrong\u003e —Lina Meruane\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“A fundamental book about what it means to mourn the past, about the remainders of a history that refuses to be forgotten. This is the debut we all wish we had written. A spirited, brave, urgent book, capable of weaving the political and the poetic.”\u003cstrong\u003e —Carlos Fonseca\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":39546374946893,"sku":"","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896337_FC.jpg?v=1636497045"},{"product_id":"in-vitro","title":"In Vitro: On Longing and Transformation","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eAn essay by Isabel Zapata, trans. by Robin Myers\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eMay 9, 2023 • 5 x 7.5 • 160 pages • 978-1-56689-675-7\u003c\/h5\u003e\n\u003ch4\u003eA meditation on in vitro fertilization that expands and complicates the stories we tell about pregnancy.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eMedical interventions become an exercise in patience, desire, and delirium in this intimate account of bodily transformation and disruption. In candid, graceful prose, Isabel Zapata gives voice to the strangeness and complexities of conception and motherhood that are rarely discussed publicly. Zapata frankly addresses the misogyny she experienced during fertility treatments, explores the force of grief in imagining possible futures, and confronts the societal expectations around maternity. In the tradition of Rivka Galchen’s \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLittle Labors \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand Sarah Manguso’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOngoingness,\u003c\/span\u003e\u003c\/i\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn Vitro\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e draws from diary and essay forms to create a new kind of literary companion and open up space for nuanced conversations about pregnancy.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIsabel Zapata is a Mexico City–born writer and editor. She is the author of the poetry book\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Una ballena es un país \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand the bilingual essay collection \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlberca vacía \/ Empty Pool \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(trans. Robin Myers). Recent work has appeared in English translation in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWorld Literature Today, Waxwing, The Common, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWords Without Borders\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. She is a cofounder and publisher at Ediciones Antílope. \u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRobin Myers is a Mexico City–based poet and translator. Her translations include \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCopy \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eby Dolores Dorantes (Wave Books), \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Dream of Every Cell \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eby Maricela Guerrero (Cardboard House Press), \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Book of Explanations \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eby Tedi López Mills (Deep Vellum Publishing), \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCars on Fire \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eby Mónica Ramón Ríos\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003e(Open Letter Books), and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Restless Dead \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eby Cristina Rivera Garza (Vanderbilt University Press).\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eIn Vitro\u003c\/em\u003e \u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eTODAY,\u003c\/em\u003e “Books We Can’t Wait to Read in 2023”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cstrong\u003e\u003cem\u003eVulture\u003c\/em\u003e, \"Best Memoirs of 2023\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e\"An insightful personal history but also a brilliant philosophical text about the very nature of sacrifice and autonomy.\" \u003cmeta charset=\"utf-8\"\u003e \u003cb data-mce-fragment=\"1\"\u003e—Arianna Rebolini, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eVulture\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e“A feat of compression: slim, fragmentary, and generous with the white space, allowing ample breathing room to take in those painful parts. . . .It is as if we are reading over her pregnant shoulder as she attempts to navigate the change she’s brought about in her life.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Shayne Terry, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eChicago Review of Books\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e“A stunning meditation on in vitro fertilization and all that the procedure and many other fertility treatments encompass—bodies, science, humanity, patience, grief, and so much more. The book feels like both an essay and a diary and each entry is crushingly intimate and honest. . . . I found myself enthralled by the brevity and intensity of the writing and the white space on each page that speaks to longing and possibility.”\u003c\/span\u003e —Pierce Alquist,\u003ci data-mce-fragment=\"1\"\u003e Book Riot\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eA resolute account of a personal metamorphosis, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn Vitro\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e alchemizes tender experiences into enchanting vignettes.” \u003c\/span\u003e\u003cstrong\u003e—Rebecca Foster, \u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eForeword Reviews, starred review\u003c\/strong\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"UTF-8\"\u003e“This lyrical meditation by Mexican poet Zapata reflects on the life-changing power of pregnancy and motherhood. . . . With poetic prose, sensitively translated by Myers, Zapata’s sometimes surprising perspective offers a fresh take on the pregnancy memoir. Elegant and sharp, this is worth seeking out.” \u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003cspan class=\"screenreader-hidden-offscreen\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e“In this essay-like collection, Zapata examines in vitro fertilization and the narratives that drive societal expectations and pressures in conception and pregnancy. Unveiling a nuanced view of motherhood and fertility treatment, \u003cem\u003eIn Vitro\u003c\/em\u003e will illuminate aspects of pregnancy not often discussed.” \u003cstrong\u003e—Lupita Aquino, \u003cem\u003eTODAY\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“From its first sentences, I was riveted to \u003cem\u003eIn Vitro\u003c\/em\u003e. Isabel Zapata has an effortlessly engaging style, at once casual and thrillingly deep. Her skill at playing with language, chronology, and genre will leave her readers feeling spellbound, affirmed, and, most of all, free. This is a profoundly liberatory book.” \u003cstrong\u003e—Emily Gould\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Isabel Zapata has created an elegant and brave poetics of the body. This is transformative literature that gives birth to a new language capable of expanding what it means to mother a child, or an idea, or a society.”\u003cstrong\u003e —Terry Tempest Williams\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePraise for Isabel Zapata\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Isabel Zapata writes with a fluidity that can only come from wisdom. Sometimes it feels like we’re listening to her speak more than reading her on the page; it even feels like we can speak back.” \u003cb\u003e—Alejandro Zambra\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43701153562866,"sku":null,"price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/9781566896757.jpg?v=1664489379"},{"product_id":"the-devil-of-the-provinces","title":"The Devil of the Provinces","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Juan Cárdenas, trans. by Lizzie Davis\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eSeptember 12, 2023 • 5 x 7.75 • 176 pages • 978-1-56689-678-8\u003c\/h5\u003e\n\u003ch4\u003eAfter a series of failures, a biologist returns to his hometown to live with his grieving mother. But in this gripping crime novel that upends the genre’s conventions, strange events unravel what he thought he knew of his past, his present, and himself.\u003cbr\u003e\n\u003c\/h4\u003e\n\u003cp\u003eWhen a biologist returns to Colombia after fifteen years abroad, he quickly becomes entangled in the trappings of his past and his increasingly bizarre present: the unsolved murder of his brother, a boarding school where girls give birth to strange creatures, a chance encounter with his irrevocably changed first love. A brush with a well-connected acquaintance leads to a biotechnology job offer, and he’s gradually drawn into a web of conspiracy. Ultimately, he may be destined to remain in the city he’d hoped never to see again—in \u003cem\u003eThe Devil of the Provinces,\u003c\/em\u003e nothing is as it seems.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eJuan Cárdenas\u003cspan style=\"font-weight: 400;\"\u003e (1978) is a Colombian art critic, curator, translator, and author of seven works of fiction, most recently the story collection \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVolver a comer del árbol de la ciencia \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand the novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eElástico de sombra\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. He has translated the works of such writers as William Faulkner, Thomas Wolfe, Gordon Lish, David Ohle, J. M. Machado de Assis, and Eça de Queirós. In 2014, his novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos estratos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e received the Otras Voces Otros Ámbitos Prize. In 2017, he was named one of the thirty-nine best Latin American writers under the age of thirty-nine by the Hay Festival in Bogotá. Cárdenas currently coordinates the masters program in creative writing at the Caro y Cuervo Institute in Bogotá, where he works as a professor and researcher.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eLizzie Davis\u003cspan style=\"font-weight: 400;\"\u003e is a translator and a writer. Her recent projects include Juan Cárdenas’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOrnamental \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(a finalist for the 2021 PEN Translation Prize); Elena Medel’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Wonders, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecotranslated with Thomas Bunstead;\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eand work by Valeria Luiselli, Pilar Fraile Amador, and Aura García-Junco.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cb\u003e\u003ci\u003eThe Devil of the Provinces\u003c\/i\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eLonglisted for the 2023 National Book Award for Translated Literature\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003e\u003ci\u003eVulture\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e, \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e“Books We Can’t Wait to Read in 2023”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan\u003e“Cárdenas generates queasy intrigue from something as strange as the birth of a devil child and as mundane as a text message that has been read but not replied to. . . . Briskly paced, thoughtful, and truly weird: a whodunit that takes on the very idea of blame.” \u003cstrong\u003e—\u003cem\u003eKirkus\u003c\/em\u003e, starred review\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cspan\u003e“A dizzying and beguiling yarn. . . . A crime story, but one without clear answers or culprits. . . . Cárdenas describes the sweltering heat in beautifully strange terms, adding to the sense of small-town oppression, where self-deprecating jokes are ‘a kind of determinist doctrine.’ South American fiction fans will love this.”\u003c\/span\u003e\u003cb\u003e —\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Catastrophe and grace intertwine throughout \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Devil of the Provinces,\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e as do the horror and beauty of what remains hidden. The result, in the hands of Juan Cárdenas, is hypnotic, disturbing, memorable.”\u003c\/span\u003e \u003cb\u003e—Rodrigo Hasbún \u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e“A supernatural thriller, a murder mystery, and a rumination on personal and environmental catastrophe—\u003cem\u003eThe Devil of the Provinces\u003c\/em\u003e is none of these things and all of these things. With skillful economy, Juan Cárdenas crafts a story where everyone is complicit, even the reader. A brilliant, ambitious novel that searches for meaning in the shadows of a dangerous and ambiguous world.”\u003cb\u003e —Mark Haber\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePraise for \u003cem\u003eOrnamental\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003eFinalist for the 2021 PEN Translation Award\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“With pitch-black comedy, \u003ci\u003eOrnamental,\u003c\/i\u003e nimbly translated by Lizzie Davis, channels the ways that egomaniacs in science and art—in any field—rise to the top, up the pyramid of capitalism. . . . The rhythm of Cárdenas’s writing compels and reassures, as if driven by the very humanity the lab has helped suppress.” \u003cb\u003e—Nathan Scott McNamara, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe New York Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[A] work of subtlety and restraint. . . . What makes \u003ci\u003eOrnamental\u003c\/i\u003e so deeply affecting, however, is not that its pages come together to form a beautiful work of exterior art—though [they] do—but its ability to cast unease on our interior worlds. . . . Brilliantly executed and cleverly translated, \u003ci\u003eOrnamental\u003c\/i\u003e leaves us with a fresh understanding of the creation of art and the nature of meaning-making.” \u003cb\u003e—Dashiel Carrera, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLos Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In his thrilling novel \u003ci\u003eOrnamental,\u003c\/i\u003e Colombian art critic, translator, curator, and renowned author Juan Cárdenas masterfully tells the tale of the junction of an experimenting doctor, his wife, and his subsidized voluntary narcotic patient. . . . Expertly translated by seasoned editor Lizzie Davis.” \u003cb\u003e—Ellie Simon, \u003ci\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“In spare and economical prose, Cárdenas sketches a highly stratified world, where drugs link high society and neighborhoods that are ‘a single crush of old houses and ruins’. . . . The overall effect offers both thrills and chills.” \u003cb\u003e\u003ci\u003e—Publishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[An] absurdist critique of class inequality. . . . Cárdenas also dabbles in art criticism and curation and uses that knowledge to acidic effect in a social drama that borders on the phantasmagorical. . . . With captivating moments.” \u003cb\u003e\u003ci\u003e—Kirkus\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This is the first of Cárdenas’s novels to be translated into English, with hopefully more to come, as he’s a supremely talented and original writer. \u003ci\u003eOrnamental\u003c\/i\u003e is a strange, dystopian tale about medical trials, in which a doctor studies women addicted to a mysterious recreational drug. Drugs will sadly always be associated with Colombia, but Cárdenas’s surreal examination of addiction and compulsion is a unique and necessary contribution to the conversation.” \u003cb\u003e—Julianne Pachico, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“[A]n exhilarating, slippery narrative where the reader knows much truth can be found, if only they can figure out how to decipher it. . . . Cárdenas’s prose is economical yet lyrical; many of his images are veritable objets d’art. . . . Lizzie Davis has done a spectacular job rendering Cárdenas’s novel in English.” \u003cb\u003e—Gillian Esquivia-Cohen, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eKenyon Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“A pointed critique of late capitalism incarnated in today’s manipulative pharmaceutical industry, of rapid modernization in postcolonial contexts, and of facile arts. [\u003ci\u003eOrnamental\u003c\/i\u003e] showcases the impact of economic exploitation on the human body and desire, and probes the complicity of arts, architecture, philosophy, and language in capitalism’s crooked dynamics. I read translated literature to connect with my linguistic others, to get out of my skin, and see the world through the eyes of those I may never meet otherwise. Cárdenas’s novel and Davis’s translation did just that for me. Davis has masterfully rewritten Cárdenas’s novel in English.” \u003cb\u003e—Sevinç Türkkan, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eHopscotch Translation\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Cardenas’s narrative style hangs on outlines and sketches that give the short novel an allegorical heft surprising for its slimness. . . . It’s in the unexpected reversal of focus, from the researcher to number 4, from the moneyed to the impoverished, that \u003ci\u003eOrnamental\u003c\/i\u003e commits its boldest act and reminds us of the people sacrificed and ignored by the progress of science.” \u003cb\u003e—Sebastian Sarti, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eCleveland Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This blow-me-over novel, set in a post-narco-baroque Colombia that could be anywhere, begins with a medical study of women committed to ingesting, in exchange for payment, an experimental and addictive recreational drug. Their dreams go strange, serving as a kind of litmus which registers lurid abscesses in a class-and-youth-obsessed society and in what we mistook to be the women’s ordinary lives. Soon, prophetic graffiti appears on walls around the city. Juan Cárdenas is masterful in his rendering of dreamy dreams, in his evocation of workplace psychology, in his urge to keep shifting the structure of his narrative even while he consistently delivers a prose so energetic, restless, and particular that its astonishing poetic qualities—someone ‘threatening pain with extortion,’ someone ‘signing imagined telegrams of dried monkey meat,’ the night recovering, at last, ‘its vulgarity’—don’t give us any pause. And translator Lizzie Davis is the next generation’s Natasha Wimmer, one of our most rewarding and savvy translators from the Spanish.” \u003cb\u003e—Forrest Gander\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"In this disquieting dystopia, impeccably translated by Lizzie Davis, the prose of Juan Cárdenas surpasses the beauty promised by the sinister drug of happiness. A very subtle, smart book indeed.” \u003cb\u003e—Alia Trabucco Zerán\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Cárdenas understands the great possibilities available to literary minimalism, taking advantage of them linguistically as well as politically, in careful strokes of theme and plot. A stunning novel about the entitlement of both the pharmaceutical industry and the art world, but also about desire, addiction, excess, and a security team made of spider monkeys. Perhaps the most damning fictional portrait of late capitalism I have ever read, at once absurd and startlingly relevant, \u003ci\u003eOrnamental\u003c\/i\u003e is a subtle and beautifully written nightmare.” \u003cb\u003e—Brian Evenson\u003c\/b\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":43701184987378,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/9781566896771_FC.png?v=1697821287"},{"product_id":"nefando","title":"Nefando","description":"\u003ch3 style=\"text-align: center;\"\u003e\u003cspan style=\"color: #9a6372;\"\u003e\u003cstrong\u003eA novel by Mónica Ojeda, trans. Sarah Booker\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch5 style=\"text-align: center;\"\u003eOctober 24, 2023 • 5.5 x 8.25 • 184 pages • 978-1-56689-689-4\u003c\/h5\u003e\n\u003ch4\u003eA techno-horror portrait of the fears and desires of six young artists whose lives are upended by a controversial video game, from National Book Award finalist Mónica Ojeda.\u003c\/h4\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSix young artists share an apartment in Barcelona: Kiki Ortega, a researcher writing a pornographic novel; Iván Herrera, a writer whose prose reveals a deeply conflicted relationship with his body; three siblings, Irene, Emilio, and Cecilia, who quietly search for ways to transcend their abuse as children; and El Cuco Martínez, a video-game designer whose creations push beneath the substrate of the digital world. All of them are connected in different ways to \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNefando,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e a controversial cult video game whose purpose remains a mystery. In the parallel reality of the game, players found relief from the pain of past trauma and present shame, but also a frighteningly elastic sense of self and ethics. Is Nefando a game for horror enthusiasts, a challenge to players' morals, or a poetic exercise? What happens in a virtual world that admits every taboo?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUnsparing, addictive, and perverse, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNefando\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e takes us to the darkest corners of the web, revealing the inevitable entanglement of digital and physical worlds, and of technology and horror. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eMónica Ojeda (Ecuador, 1988) is the author of the novels\u003cem\u003e La desfiguración Silva\u003c\/em\u003e (Premio Alba Narrativa, 2014), \u003cem\u003eNefando\u003c\/em\u003e (Candaya, 2016), and \u003cem\u003eMandíbula\u003c\/em\u003e (Candaya, 2018), as well as the poetry collections \u003cem\u003eEl ciclo de las piedras\u003c\/em\u003e (Rastro de la Iguana, 2015) and \u003cem\u003eHistoria de la leche\u003c\/em\u003e (Candaya, 2020). Her stories have been published in the anthology \u003cem\u003eEmergencias: Doce cuentos iberoamericanos\u003c\/em\u003e (Candaya, 2014) and the collections \u003cem\u003eCaninos\u003c\/em\u003e (Editorial Turbina, 2017) and \u003cem\u003eLas voladoras\u003c\/em\u003e (Páginas de Espuma, 2020). In 2017, she was included on the Bógota39 list of the best thirty-nine Latin American writers under forty, and in 2019, she received the Prince Claus Next Generation Award in honor of her outstanding literary achievements.\u003c\/p\u003e\n\u003ch3\u003e\n\u003cstrong\u003eAbout the Translator\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eSarah Booker \u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eis an educator and literary translator. Her translations include Mónica Ojeda’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eJawbone,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e Gabriela Ponce’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eBlood Red,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e and Cristina Rivera Garza’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eNew and Selected Stories, Grieving: Dispatches from a Wounded Country,\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eThe Iliac Crest\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e. She has a PhD in Hispanic Literature from UNC-Chapel Hill and is currently based in Morganton, North Carolina where she teaches Spanish at the North Carolina School of Science and Mathematics.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eNefando\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u003cb\u003eBOMB Magazine,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/em\u003e\u003cb\u003e\u003cspan\u003eEditor's Choice\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003cb\u003eSouthwest\u003c\/b\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cb\u003e\u003cem\u003e Review\u003c\/em\u003e, \"10 Must-Read Books of 2023\"\u003c\/b\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Cerebral, sensual and unapologetically scatological, this techno-horror tale is obsessed with ‘the internal conflict between man and beast, intellect and instinct, life and death.’” \u003cstrong\u003e—Gabino Iglesias, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Ojeda makes a convincing case that it’s not the machines that created the nightmares, but the humans. When we open our laptops, when we stare into our little screens, all that monstrousness we unconsciously fear about ourselves, words and images we worry will remain forever uploaded—all that human terror—looks back at us.\" \u003cmeta charset=\"utf-8\"\u003e\u003cb data-mce-fragment=\"1\" data-stringify-type=\"bold\"\u003e—Rhian Sasseen, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\" data-stringify-type=\"bold\"\u003e\u003ci data-mce-fragment=\"1\" data-stringify-type=\"italic\"\u003eBOMB Magazine\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003eNefando\u003c\/em\u003e deserves attention for not only the polished craft of Booker and Ojeda, but its insistence on staring directly at genuine horrors—both online and in the real world—and unflinchingly asking why, if we won't tolerate these problems in one space, we allow them to be perpetuated in the other.” \u003cstrong\u003e—Cory Oldweiler, \u003cem\u003eThe Star Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Ojeda’s work bubbles from this need to write the unspeakable—to write not just of horror, but of the moments of desire, pleasure, or love that might lie within it.” \u003cstrong\u003e—Anna Learn, \u003cem\u003eFull Stop\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eNefando \u003c\/em\u003eisn’t for the faint of heart. It confronts the evil, unspeakable aspects of human nature, refusing to turn away its lucid, dissecting gaze.” \u003cstrong\u003e—Sébastien Luc Butler, \u003cem\u003eForeword Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Like the fictitious\u003cspan\u003e \u003c\/span\u003e\u003ci data-stringify-type=\"italic\"\u003eNefando\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eitself, this is a work for voyeurs, searchers, escapists, doomscrollers. At times I feared this book, yet I couldn’t put it down. At some point you sense it coming to life, and what began as recreation quickly turns to compulsion. Even at the final page, you fear the book will go on without you.”\u003cspan\u003e \u003c\/span\u003e\u003cb data-stringify-type=\"bold\"\u003e—Daniel Peña, author of\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-stringify-type=\"bold\"\u003e\u003ci data-stringify-type=\"italic\"\u003eHow to Look Away\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“In\u003cspan\u003e \u003c\/span\u003e\u003ci data-stringify-type=\"italic\"\u003eNefando\u003c\/i\u003e, Mónica Ojeda compels us to bear witness to the most vicious form of sexuality as it intersects with the perversion of family and the trauma of a broken childhood. The experience of pain goes beyond what can be said, but Ojeda persists in naming it with language as poetic as it is crude. This choral, fragmented novel masterfully reveals and weaves together the darkness of our time.”\u003cspan\u003e \u003c\/span\u003e\u003cb data-stringify-type=\"bold\"\u003e—Gabriela Ponce, author of\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-stringify-type=\"bold\"\u003e\u003ci data-stringify-type=\"italic\"\u003eBlood Red\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003ePraise for \u003cem\u003eJawbone\u003c\/em\u003e\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cscript src=\"https:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.7.1\/jquery.min.js\" type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\n\/\/ ]]\u003e\u003c\/script\u003e \u003cscript src=\"http:\/\/tester3.yolasite.com\/resources\/javascript\/jtruncate.js\" type=\"text\/javascript\"\u003e\u003c\/script\u003e \u003cscript type=\"text\/javascript\"\u003e\/\/ \u003c![CDATA[\n\/\/ Settings for script \n$(document).ready(function() { \n$('.text').jTruncate({ \nlength: 1000, \/* The number of characters to display before truncating. *\/ \n\nminTrail: 0, \/* The minimum number of \"extra\" characters required to truncate. This option allows you to prevent truncation of a section of text that is only a few characters longer than the specified length. *\/\n\nmoreText: \"Read More\", \/\/ The text to use for the \"more\" link. \nlessText: \"Read Less\", \/\/ The text to use for the \"less\" link. \nellipsisText: \"...\", \/\/ The text to append to the truncated portion. \n}); \n});\n\/\/ ]]\u003e\u003c\/script\u003e\u003c\/p\u003e\n\u003cp class=\"text\"\u003e\u003cb\u003eFinalist for the 2022 National Book Award for Translated Literature\u003cbr\u003eFinalist for the 2023 Lambda Literary Award for Lesbian Fiction\u003cbr\u003eLonglisted for the 2023 PEN Translation Prize\u003cem\u003e\u003cbr\u003eThe New York Times,\u003c\/em\u003e “New Books in Translation”\u003cbr\u003e\u003cem\u003eThe A.V. Club,\u003c\/em\u003e “Books to Read in February”\u003cbr\u003e\u003cem\u003eWords Without Borders,\u003c\/em\u003e “Most Anticipated”\u003cbr\u003eFebruary Indie Next List\u003cbr\u003e\u003cem\u003eLitReactor,\u003c\/em\u003e “2022 Horror You Do Not Want to Miss”\u003cbr\u003e\u003cem\u003eMs. Magazine,\u003c\/em\u003e “Favorite Books of 2022”\u003cbr\u003e\u003cem\u003eLatinx in Publishing,\u003c\/em\u003e “Most Anticipated 2022 Latinx Books”\u003cbr\u003eRiffraff Bookstore, “Favorites of 2022”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Strange, twisted . . . . Ojeda, who was named one of \u003cem\u003eGranta’\u003c\/em\u003es best young Spanish-language novelists, writes with a polyphonic verve, agilely translated by Booker. Her language, like adolescence itself, is unruly and excessive, full of dramatic shifts and capable of both beauty and horror.” \u003cstrong\u003e—Anderson Tepper, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Six girls in a private Catholic high school in Ecuador turn to the occult in Mónica Ojeda’s macabre English-language debut novel, \u003cem\u003eJawbone\u003c\/em\u003e. The girls’ ringleader, Annelise, entertains her friends with tales of a made-up deity and eggs them on with strange dares. Soon enough, she and her friend Fernanda are falling in love, raising the stakes of Annelise’s fabricated creepypasta. Ojeda has drawn comparisons to Shirley Jackson, H.P. Lovecraft, and Edgar Allen Poe.” \u003cem\u003e\u003cstrong\u003e—The A.V. Club\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eJawbone \u003c\/em\u003edepicts the process of becoming a woman as the ultimate horror story. . . . With terrifying ease, Ojeda illustrates how womanhood is characterized by dualities: fearful and feared, desired and desiring.” \u003cstrong\u003e—Morgan Graham,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e Chicago Review of Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Rife with gothic body horror and the darkness of the jungle and within ourselves. . . . Ojeda is a strikingly singular voice, combining basic teen angst with stark madness and the power of teen girls to push back in a world that tries to make them powerless.” \u003cstrong\u003e—Yvonne C. Garrett,\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e The Brooklyn Rail\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Delectable. . . . There are echoes of Lovecraft and Shirley Jackson at play, but the vision is ultimately Ojeda’s own—delicious in how it seduces and disturbs the reader as the girls rely on horror both as entertainment and as a way of staving off the actual terrors of growing up. This is creepy good fun.” \u003cem\u003e\u003cstrong\u003e—Publishers Weekly\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“Edgar Allan Poe meets a few of the mean girls. . . . Mother-daughter relationships slide under Ojeda’s microscope, sharing space with the teacher-student dynamic and deities as objects in an exploration of power and sexuality during adolescence. . . . Every good horror story needs a victim; Ojeda’s monsters and victims wear the same faces.” \u003cem\u003e\u003cstrong\u003e—Kirkus\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e“\u003cem\u003eJawbone \u003c\/em\u003edistinguishes itself through fevered brilliance. . . . Like the strange bloom of a corpse flower, the novel evokes life, death, and a vortex of twisted beauty.” \u003cstrong\u003e—Meg Nola, \u003cem\u003eForeword Reviews, \u003c\/em\u003estarred review\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“A wild, dirty, surreal, creepy narrative. . . . This novel, which explores the interstices between genres, shows what can happen when a writer digs deep into language while looking for darkness, for the unexplainable, for blood. . . . A dynamic, engrossing reading experience.” \u003cstrong\u003e—Gabino Iglesias, \u003cem\u003eSouthwest Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mónica Ojeda is one of the most powerful and provocative voices in Latin American literature today. Her influences span from H.P. Lovecraft to Stephen King’s \u003ci\u003eCarrie,\u003c\/i\u003e to anonymous internet horror legends called ‘creepypastas.’ In her novel \u003ci\u003eJawbone, \u003c\/i\u003eOjeda explores the darkest aspects of women’s relationships in the suffocating atmosphere of an Opus Dei school for girls in Ecuador. In her multivocal and lyrical prose, Ojeda demonstrates the pernicious ways that violence against women can be exercised and reveals how victims can be transformed into perpetrators.”\u003cb\u003e —Rose Bialer, \u003ci\u003eAsymptote\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Sometimes a meditation on horror storytelling in all of its forms and sometimes a full-blown example of it. . . . Annelise (and, by proxy, Ojeda) are onto something about the primal appeal of horror literature; what Ojeda seems to be doing here, in part, is pushing that theory to its limits, and learning just how unsettling that can be.” \u003cstrong\u003e—Tobias Carroll, \u003cem\u003eOn the Seawall\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“It might be the most harrowing novel I’ve read in a decade. . . . As an example of top-grade horror (and frankly top-grade literature), there’s very little that will be published this year, or any year, that will surpass this devastating novel.” \u003cstrong\u003e—Ian Mond, \u003cem\u003eLocus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Hits the sweet spot of novels under 300 pages. . . . And we always need more translated horror.” \u003cstrong\u003e—Sadie Hartmann, \u003cem\u003eLitReactor\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“The horror exists in, and is generated by, a delicious but unsettling uncertainty of self and non-self whereupon realities are created and cast off. . . . Ojeda’s poetic craft shines through \u003cem\u003eJawbone\u003c\/em\u003e’s prose. It’s a deeply visual book in which seemingly transparent images introduced early on are lacquered over with layers of meaning as the story progresses, building a patina of dread.” \u003cstrong\u003e—Annabella Farmer, \u003cem\u003eSanta Fe Reporter\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Dark academy meets existential horror in this scintillating and unsettling novel of friendship, adolescence, and ‘inquietude.’ When a group of friends find an abandoned building, their most charismatic member slowly escalates their afternoons of scary stories and dares into a secret society of dangerous rituals and potentially deadly consequences. The characters are entrancing, the ideas are insightful, and the prose itself is thrilling.” \u003cstrong\u003e—Josh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e“Mónica Ojeda is fearless in her approach to both themes and style. She deals with horror and desire like few others, with a beauty so extreme that it sometimes leaves you gasping. In \u003cem\u003eJawbone,\u003c\/em\u003e an elite Catholic school becomes the stage for nightmares fueled by obsession, creepypastas, and teenagers crazed by hormones and horror movies. But in the end, the novel is about Mónica’s primary concerns: sexuality, violence, and how a story about the damaged and the lost can be told with such beauty and relentlessness. She scares me, and she amazes me, and I think she is one of the most important writers working in Spanish today.” \u003cstrong\u003e—Mariana Enríquez\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“\u003cem\u003eJawbone\u003c\/em\u003e is a dark fairy tale in which a group of girls become adults on their own, taking blood oaths with cruelty, torture, and vengeance. This book summons the evil spirits that surround all adolescence, and they’re made to speak straight into our ears. As chilling as it is necessary, like all of Ojeda’s work.” \u003cstrong\u003e—María Fernanda Ampuero\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“Mónica Ojeda has at her disposal the most enviable combination I can imagine, and she has it in spades: a lucid mind, an exacting language, and a wild heart.”\u003cstrong\u003e \u003cstrong\u003e—Andrés Barba\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":44395481596146,"sku":"","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/products\/CHP_Nefando_comps-27_2954b6cd-6cc8-4d06-bae3-abdef6b9d3fb.jpg?v=1677858027"},{"product_id":"electric-shamans-at-the-festival-of-the-sun","title":"Electric Shamans at the Festival of the Sun","description":"\u003cp\u003eNational Book Award finalist Mónica Ojeda returns with a blazing, psychedelic novel about girlhood, violence, and the loss of innocence. \u003c\/p\u003e\n\u003cp\u003eIn the near future, best friends Noa and Nicole flee their home in Guayaquil, Ecuador to attend the Solar Noise Festival, a week-long, retro-futuristic gathering at the foot of an active volcano. While Noa fully embraces the haze of narcotics and hedonism in an effort to obscure her true reason for attending, Nicole senses something darker at play behind the festival’s so-called “celebration of life.” Amid technoshamanic poetry, collective hallucinations, and ritualistic dances, each girl navigates her own path in an effort to escape her past and reclaim her right to a future. \u003c\/p\u003e\n\u003cp\u003eVivid, terrifying, and celebratory, \u003cem\u003eElectric Shamans at the Festival of the Sun\u003c\/em\u003e blends the primal with the supernatural, solidifying Mónica Ojeda as one of the most singular and exciting voices in Latin American and world literature today.\u003c\/p\u003e","brand":"CHPbeta","offers":[{"title":"Default Title","offer_id":48010580230386,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1475\/9808\/files\/ElectricShamans_0c646653-2758-4f84-ad48-4ad9cb1ec7e3.jpg?v=1759433490"}],"url":"https:\/\/coffeehousepress.org\/collections\/latin-america-the-caribbean.oembed?page=2","provider":"Coffee House Press","version":"1.0","type":"link"}