The protagonist of this story has no understanding of the words winter, cold, or snow because he has never experienced the phenomena they describe. We find ourselves in Victorica, a province of La Pampa, Argentina, some time after 2197 - the year in which the last of the Antarctic icecaps melted and an unprecedented climate catastrophe ensued, radically transforming the landscape of the region into a Caribbean Pampas. It is here that the Dengue Child grows up, a mutant mix of child and mosquito, the result of crazy experimenting driven by ultra-capitalistic corporations racing against each other to own viruses and their cures, destroying even their very own children's existence to cash in on the stock exchange.

Another of the surprising effects of the thaw is the appearance of powerful telepathic pebbles from the bowels of the earth that seem to encapsulate the world's original wisdom, and which are the subject of lucrative smuggling. Meanwhile, the wealthy of the region chose to cruise around on ships where they can experience ice-skating and hand carve ice from valuable remains of glaciers. In their ultra-air conditioned homes, their kids play Indians vs Christians, a brutal video game set in the historical 19th century.

The future according to Michel Nieva looks frenetic and shocking. His is one of the most exciting literary voices emerging from Argentina, packing punches in a deeply intelligent, informed, and humorful prose which takes root in Latin American storytelling and sci-fi tradition.

A stymied reporter in his early thirties embarks on an investigation of three unconnected suicides. All he has to go on are photos of the faces of the dead. Other suicides begin to proliferate, while a colleague in the archives sends him historical justifications of self-murder by thinkers of all sorts: Diogenes, David Hume, Emile Durkheim, Margaret Mead. His investigation becomes an obsession, and he finds himself ever more attracted to its subject as it proceeds.

The Suicides is the third volume of Antonio Di Benedetto's Trilogy of Expectation, a touchstone for Roberto Bolaño and deemed one of the culminating moments of twentieth-century fiction by Juan José Saer. Following Zama (set during the eighteenth century) and The Silentiary (set during the 1950s), this final work takes place in a provincial city in the late 1960s, as Argentina plummets toward the Dirty War.

A kinetic, globetrotting novel following three siblings--Jewish and downwardly mobile--from 2001 to 2034, as they come of age against the major crises of the 21st century.

Berlin Atomized begins in Buenos Aires of the early 2000s with the self-baptisms of Nina Goldstein. She bathes too frequently, washing with fervor and repeating: I am not asleep. She grows up partying and taking undeserved siestas, while her eldest brother Jeremías is drawn into the city's powder keg music scene, and the middle sibling, Mateo, learns of his terminal illness and prepares to join the IDF. Though Argentina faces the worst economic crisis in its history, the Goldsteins are being reared in a newly developed gated community that displaces working class families. Each sibling rehearses their escape from the capitalist Eden of their birth, unaware that the gated community will soon be underwater, and their family scattered all over the earth.

The second half of the novel takes place between 2018 and 2035, invoking and imagining possible futures for this existence in migration. Jeremías lives in Paris until an undeclared war destroys the city, and Nina, after tracing Mateo's last steps to his death in Tel Aviv, ends up in Berlin, where the European Union is found in the shambles of its own history. From Punta del Este to Paris, Berlin to Jerusalem, Brussels to Tokyo, the novel progresses into a dire near future of constant flight and fire as the siblings search for one another.

Defiant and dexterous, percussive and percolating with violent light, Berlin Atomized is Julia Kornberg's napalm-ic debut--a tale about the end of the world, as told by the clear-eyed youth to which that world had been promised.

25 Crónicas - uniquely Latin American short stories - from a master of the form, a star heralded alongside Samanta Schweblin and Mariana Enríquez for blending insight, honesty, and humor

Uhart reinvigorates our desire to connect with other people, to love the world, to laugh in the face of bad intentions, and to look again, more closely: from lapwings, road-side pedicures, and the overheard conversations of nurses and their patients, to Goethe and the work of the Bolivian director Jorge Sanjinés.

It was a year of great discovery for me, learning about these people and their homes, Hebe Uhart writes in the opening story of A Question of Belonging, a collection of texts that traverse Argentina, Paraguay, Brazil, Spain, and beyond. Discoveries sprout and flower throughout Uhart's oeuvre, but nowhere more so than in her crónicas, Uhart's preferred method of storytelling by the end of her life. For Uhart, the crónica meant going outside, meeting others. It also allowed the mingling of precise, factual reportage and the slanted, symbolic narrative power of literature.

Here, Uhart opens the door on all kinds of people. We meet an eccentric priest who conducts experiments down by the riverside hoping to land on a cure for cancer; a queenly (read: beautiful and relentlessly indolent) teenage girl; a cacique of the Pueblo Nación Charrúa clan, who tells her of indigenous customs and histories.

She writes with characteristic slyness. In the last lines of the title story, Uhart writes, And I left, whistling softly. Wherever she may have gone, we are left with the wish we could follow alongside.

New York, 1998. Santiago Larrea, a wealthy Argentine diplomat, is holding court alongside his wife, Lila, and their daughter, Paloma, a college student and budding jewelry designer, at their annual summer polo match and soiree. All seems perfect in the Larreas' world--until an unexpected party guest from Santiago's university days shakes his usually unflappable demeanor. The woman's cryptic comments spark Paloma's curiosity about her father's past, of which she knows little.

When the family travels to Buenos Aires for Santiago's UN ambassadorial appointment, Paloma is determined to learn more about his life in the years leading up to the military dictatorship of 1976. With the help of a local university student, Franco Bonetti, an activist member of H.I.J.O.S.--a group whose members are the children of the desaparecidos, or the disappeared, men and women who were forcibly disappeared by the state during Argentina's Dirty War--Paloma unleashes a chain of events that not only leads her to question her family and her identity, but also puts her life in danger.

In compelling fashion, On a Night of a Thousand Stars speaks to relationships, morality, and identity during a brutal period in Argentinian history, and the understanding--and redemption--people crave in the face of tragedy.

Includes a Reading Group Guide.

In Cesar Aira's new novel, Fulgentius, a sixty-seven-year-old imperial Roman general--Rome's most illustrious and experienced--is sent to pacify the remote province of Pannonia.He is a thoughtful, introspective person, a saturnine intellectual who greatly enjoys being on the march away from his loving family, and the sometimes deadly intrigues of Rome. Fulgentius is also a playwright (though of exactly one play) and in every city he pacifies, he stages a grand production of his farcical tragedy (written at the tender age of twelve) about a man who becomes a famous general only to be murdered at the hands of shadowy foreigners. Curiously, what he had imagined as a child turns out to be the story of his life, almost. As the playwright-turned-general broods obsessively about his only work, the magnificent Lupine Legion--a city in movement of 6,000 men, an invincible corps of seasoned fighters wearing their signature wolfskin caps--kills, burns, pillages, and loots their way to victory. But what does victory mean?

In deliciously ironic, and at times breathtakingly poetic prose, We, the Casertas is the story of Chela, the first-born child to a wealthy family in Buenos Aires. Threatened by her extraordinary intellect, her parents immediately take against her, instead lavishing attention on her beautiful sister. Chela is soon exiled to the attic and allowed to run wild, her only friend a lame owl with whom she explores the countryside.

Chela's intellectual curiosity grows and she becomes a brilliant student, excelling at subject after subject, and eventually breaking free of the family that has always misunderstood her. But her troubles don't end there. After falling in love with a married man more than twice her age, she has her heart broken when he refuses to divorce his wife. In her hurt, she flees to Chile where she befriends Pablo Neruda, before heading to Europe where she falls in with a trio of mysterious aristocratic intellectuals dabbling in black magic. After her estate is appropriated by the Peronist government, Chela goes in search of her great aunt in Sicily where she embarks upon a passionate affair, goes treasure hunting with local sailors, and discovers an old family relic.

We, the Casertas is a wild, unpredictable novel about the horrors of family life and the desperate loneliness of womanhood in the mid-century.

Ernesto Sabato nos pone en guardia contra los peligros que aquejan nuestra cultura, ahora en la más grave encrucijada de su historia.

La resistencia es un libro para aquellos que saben leer los símbolos que se abisman entre uno y el universo: la incomunicación, el narcisismo, la reverencia a los dioses de la televisión, el trabajo deshumanizado, el imperio de la máquina sobre el ser, el sometimiento y la masificación, el creciente sentimiento de orfandad, la competencia feroz y el vértigo apocalíptico en el que toda posibilidad de diálogo desaparece. Entonces la pregunta es: Cómo resistir?

ENGLISH DESCRIPTION

Ernesto Sabato warns us against the dangers that afflict our culture, now at the most serious crossroads in its history.

La resistencia is a book for those who know how to read the symbols that sink between one and the universe: lack of communication, narcissism, reverence for the gods of television, dehumanized work, the empire of the machine over being, subjection and massification, the growing feeling of orphanhood, fierce competition and apocalyptic vertigo in which all possibility of dialogue disappears. So the question is: How to resist?

Perfect for readers of Tove Ditlevsen, Annie Ernaux's Happening, and Claudia Piñeiro's Elena Knows

A radical feminist text, January was the first Argentine novel to represent rape from the survivor's perspective and to explore the life-threatening risks pregnancy posed, in a society where abortion was both outlawed and taboo.

In the sweltering Argentine pampas, all things bow to Nefer. Reeds nod when she digs her heels into her horse, unripe peaches snap and fall as she gallops past. Sickly-sweet air bends, churns in Nefer's throat.

Nefer measures the distance between her body and the table, and feels something filling her up, turning against her. Her belly swells.

Desperate, Nefer visits a local medicine woman who is known to perform abortions but Nefer becomes too afraid to explain why she is truly there.

She attends confession at church but cannot confide in the priest. During a fierce argument with her mother, she finally blurts out her secret.

With a narcotic musicality and voice scorched through with honesty, Gallardo hangs before us an experience that has been lived and ignored a thousand times over. Nefer closes her eyes. We careen to her and we see.

At the age of eighty-five, Aurora Venturini stunned Argentine readers when her darkly funny and formally daring novel, Cousins (Las primas), won Página/12's New Novel Award. She had already written more than forty books, but it was only then, in 2007, that she was widely recognized as a paradigm-shifting voice in Spanish-language literature.

Venturini never stopped writing in her ninety-two years, and produced an oeuvre that is mischievous and stylish, vital and mysterious, and completely original. She lived a life immersed in the literature and culture of the twentieth century: her first award was given to her in person by Jorge Luis Borges; she was friends and colleagues with Eva Perón; and when she lived in exile in Paris, she socialized with a sparkling milieu of writers and philosophers, including Simone de Beauvoir and Jean-Paul Sartre.

Cousins, widely regarded as Venturini's masterpiece, is the story of four women from an impoverished, dysfunctional family in La Plata, Argentina, who are forced to suffer through a series of ordeals, including illegal abortions, miscarriages, sexual abuse, disfigurement, and murder, narrated by a daughter whose success as a painter offers her a chance to achieve economic independence and help her family as best as she can.

Neighborhood mythologies, family, female sexuality, vengeance, and social mobility through art are explored and scrutinized in the unmistakable voice of Yuna--who stares wildly at the world in which she is compelled to live--a voice unique in contemporary literature whose unconventional style can be candid, brutal, sharp, and utterly breathtaking. With the translation of Cousins into several languages for the first time, Aurora Venturini is now being discovered internationally and championed as a major voice in Latin American literature.

Crocodiles at Night follows the difficult journey of death through the eyes of a woman as she travels between her home in Houston and her ailing father in Argentina.

Dad died today. It was foretold, but I didn't see it coming.

Although the outcome of Crocodiles At Night does not remain a surprise beyond the first paragraph, it expands outwards in philosophical, heartfelt reverberations true to Heffes's style. Crocodiles at Night explores familial ties, memories and images of places that are no longer the same, the vagaries of the medical system, and social critique in this heartfelt, excruciating view of death and how it affects all who experience it.

A provocative multigenerational exploration of creative genius, madness, and family relationships. With the ambition and density of style of Vladimir Nabokov or Olga Tokarczuk, this is a story both profound and handled with a light touch.

The Absolute is a sprawling historical novel about the Deliuskin-Scriabin family, made up of six generations of geniuses and madmen. Beginning in the mid-18th century in Russia, across Europe and ending in late 20th-century Argentina, the characters' lives play out in different branches of art, politics and science in such radical ways that they transform the world and its reality. The narrator's ancestor, Frantisek Deliuskin, invents a new form of music in the 18th century; his son, Andrei Deliuskin, makes some marginal annotations to the Spiritual Exercises of Saint Ignatius of Loyola that are later interpreted by Lenin as an instruction manual to carry out the Russian Revolution of 1917; Esau Deliuskin, following the course of his father, creates a socialist utopian society; and down through the generations to the narrator, whose creation takes him back in time and space to the moment of the Big Bang.

The Absolute is a monumental work about the creation of art and about family, about spiritual traditions and about throwing oneself into the world not to capture life but to create it, in and through words.

This is a masterpiece at a time when masterpieces seem impossible and at the same time challenges the very idea of a masterpiece. ... It's the novel one should read if they want to know what an artist is. --La Nación

Un libro puede llevarte lejos, tanto en el espacio como en el tiempo. Tan lejos como quiera la evocación de aquellas obras que marcaron nuestra infancia -de Emilio Salgari a Edmondo De Amicis, de Edgar Rice Burroughs a Lewis Carroll-, o de aquellas canciones con las que nos enamoramos por primera vez -que son todas las veces que nos enamoramos- y que permanecen imborrables a despecho del tiempo. Canciones de un pasado cercano y a su vez remoto, que lleva los nombres de Charles Aznavour, Sandro, Antonio Prieto, Matt Monro, Gabriela Ferri, Nicola Di Bari, Leonardo Favio y tantos otros.

Un libro puede llevarnos también adonde lo pretendan sus páginas más entrañables. Basta con seguir las huellas de los grandes escritores en Venecia, los de Kafka en Praga o las que conducen devotamente a la Casa Tau, la extravagante vivienda de Eugene O'Neill en Los Angeles.

Pero estos derroteros son también una excusa para que Luis Gusmán hable de las influencias que jalonaron su obra, del impacto que suscitaron en él algunas lecturas, o canciones, o geografías, y luego, en consecuencia, en su propia aventura literaria.

Donde un libro me llevó es la más autobiográfica de las obras de Gusmán, al tiempo que constituye un feliz compendio de postales y encuentros, que hablan, sin más, de una vida consagrada a la literatura.

Tres siglos de historia y una familia enloquecida y genial.

El absoluto es la crónica de las seis generaciones que cambiaron el arte, la ciencia, la mística, la política y hasta el rumbo del Universo. Del Big Bang a la Revolución Rusa, de la música aleatoria a la máquina del tiempo, esta monumental novela, deslumbrante y desenfadada, sitúa a Daniel Guebel, definitivamente, entre los autores más virtuosos de habla hispana y entre los pocos capaces de escribir una obra que desafía a la propia literatura.

ENGLISH DESCRIPTION

Municipal Novel Prize 2021
Argentine National Literature Award 2018
Literary Award of the Argentine Academy of Letters 2017
Best Novel of 2016, according to La Nación

A provocative multigenerational exploration of creative genius, madness, and family relationships. With the ambition and density of style of Vladimir Nabokov or Olga Tokarczuk, this is a story both profound and handled with a light touch.

The Absolute is a sprawling historical novel about the Deliuskin-Scriabin family, made up of six generations of geniuses and madmen. Beginning in the mid-18th century in Russia, across Europe and ending in late 20th-century Argentina, the characters' lives play out in different branches of art, politics, and science in such radical ways that they transform the world and its reality. The narrator's ancestor, Frantisek Deliuskin, invents a new form of music in the 18th century; his son, Andrei Deliuskin, makes some marginal annotations to the Spiritual Exercises of Saint Ignatius of Loyola that are later interpreted by Lenin as an instruction manual to carry out the Russian Revolution of 1917; Esau Deliuskin, following the course of his father, creates a socialist utopian society; and down through the generations to the narrator, whose creation takes him back in time and space to the moment of the Big Bang.

The Absolute is a monumental work about the creation of art and about family, about spiritual traditions and about throwing oneself into the world not to capture life but to create it, in and through words.

Presentación

Un atardecer de abril, Luciano Lombardi moría solo en un lecho de hospital.

Años después, sus hijos miran en la memoria lo que fue alguna vez, como Telémaco mira el mar con la esperanza de encontrar a su padre.

Solo, en la galería de la casa de campo, Pablo retorna a la infancia, al sentimiento de pérdida que despertó el nacimiento del hermano, a los celos, al dolor de existir y el deseo de muerte del rival. Mientras Alfredo, olvidado en la tapera de Tres Arroyos, cuando todo se alejaba, encuentra en el color gastado de una antigua fotografía, el vacío y la soledad que lo hundieron en la autodestrucción. Conoció la exclusión de los juegos infantiles y su exclusión de la vida, cuando fue arrojado en la prisión.

La novela propone una reflexión acerca de las relaciones padres-hijos y acerca de la función paterna y explora las cuestiones de la transmisión y la filiación. Nos invita a pensar con Massimo Recalcati: Qué necesitan heredar nuestros hijos para avanzar en la vida?

Oscar Yujnovsky nació en Argentina, obtuvo el PhD en la Universidad de California, Berkeley (EEUU). Vive en Francia. Fue asesor de las Naciones Unidas en el PNUD. Su novela Forma sonata fue galardonada con el primer premio del concurso organizado por la Editorial Mis Escritos de Argentina y publicada en 2005 por esa Editorial. Jorge Pinto Books publicó sus novelas Luz de Vitral (2008),La Decepción (2010), Resonancias de Don Juan (2013), Place de Vosges [2016] y un Pájaro que Canta [2018]

During an economic and social crisis in Argentina, the teenage son of a public political figure uses a pseudonym to publish a blog that gives a confidant's view into his private world. Always accompanied by a soundtrack of punk and rock, he wields his early-2000s computer keyboard like a switchblade, draining the pus from the silent wounds of his romantic and family life.

What You Don't Expect from Me is an intimate novel that distorts both realism and internet writing to expose the trauma of the upper class, online life, bullying, sexual discovery, toxic relationships, and an introverted teenager's cry for freedom.

Set in a stark landscape of cliffs and precipices high above the Argentine pampas, Mariana Travacio's All That Dies in April follows the members of one small family as each makes a solitary journey out of their treacherous mountain home in search of a better life.

Lina has dreamt for years of leaving her tiny village in the drought-stricken region. Her son left long ago to find work and a better fortune. Relicario, her husband, is content to stay put in the land of his ancestors, tending to their graves. Ignoring Relicario's pleas, a desperate Lina decides to abandon their home in search of her son, work, and water. She starts her journey on foot, and Relicario eventually follows behind, bringing a donkey and a sack with his ancestors' bones. Both witness unspeakable violence, cruelty, and folly, but the hope of reuniting their family keeps them alive.
Poetically charged, restrained, and delicately condensed, this is a suspenseful ancestral tale rooted in a long Latin American history of rural displacement and perpetual inequality.

En Cuentos de muerte y de sangre. Seguidos de aventuras grotescas y una trilogía cristiana Ricardo Güiraldes reúne relatos descarnados, de una intensidad que se anticipa a los mejores textos de la novela negra americana.

Aunque este título recuerde a uno de los clásicos de la narrativa breve latinoamericana, Cuentos de amor de locura y de muerte (1917) del uruguayo Horacio Quiroga, el libro del argentino no corrió con la misma suerte.

Cuentos de muerte y de sangre fue un fracaso estrepitoso, solo logró vender siete ejemplares en un año. Este fracaso editorial y las múltiples críticas llevó al mismo Güiraldes a renegar de esta obra. Si al hecho anterior se le suma como contraste el éxito de su novela Don Segundo Sombra, no es de extrañar que el el relato haya sido totalmente eclipsado por la novela, generando un silencio a su vez dentro de la crítica literaria.

A lavishly written gothic historical fantasy novel that centers around Pier Francesco Orsini, the tortured duke of Bomarzo and creator of the Italian town's famously bizarre Garden of the Monsters.

Pier Francesco Orsini, duke of Bomarzo, created a park of monsters in which the nightmares of the Renaissance are preserved, set in stone yet still writhingly alive. In Bomarzo, Manuel Mujica Lainez--one of the great Argentine novelists of the twentieth century--re-creates the dark and legendary duke as a brilliant memoirist recalling the trials and travails of his sixteenth-century life from a modern point of view (Freudian psychoanalysis and Lolita both put in an appearance) while ensconced in a city that sounds suspiciously like Mujica Lainez's own Buenos Aires.

Bomarzo is a historical novel in the grand manner, a first-person portrait of an aristocratic hunchback bullied by his family and determined to prove a villain (a portrait so convincing that Edmund Wilson assumed it to be fact). It is also, of course, a commentary on such historical fictions. But above all it's an immersive story told in a sumptuous style--a bit as if Proust were rewriting one of Poe's Italian tales--as Gregory Rabassa's translation (out of print for many years) conveys beautifully.