Italo Calvino once said about her, “I don’t know another writer who better captures the magic inside everyday rituals, the forbidden or hidden face that our mirrors don’t show us.” Thus Were Their Faces collects a wide range of Ocampo’s best short fiction and novella-length stories from her whole writing life. Stories about creepy doubles, a marble statue of a winged horse that speaks to a girl, a house of sugar that is the site of an eerie possession, children who lock their perverse mothers in a room and burn it, a lapdog who records the dreams of an old woman.Jorge Luis Borges wrote that the cruelty of Ocampo’s stories was the result of her nobility of soul, a judgment as paradoxical as much of her own writing. For her whole life Ocampo avoided the public eye, though since her death in 1993 her reputation has only continued to grow, like a magical forest. Dark, gothic, fantastic, and grotesque, these haunting stories are among the world’s finest.

    She didn't tell her actor husband where she was going or even that she was going, but he shows up looking for her. What ensues is the human turmoil of jealousy, passion, desire, possession, violence, and reconciliation.

    Though it’s the middle of a weekend, he is asked to urgently investigate the mysterious disappearance of Rafael Morin, a high-level business manager in the Cuban nomenklatura. Conde remembered Morin from their student days: good-looking, brilliant, a “reliable comrade’’ who always got what he wanted, including Tamara, the girl Conde was after.But Rafael Morin’s exemplary rise from a poor barrio and picture-perfect life hides more than one suspicious episode worthy of investigation. While pursuing the case in a decaying but adored Havana, Conde confronts his lost love for Tamara and the dreams and illusions of his generation.

    Given surprising leeway by her family for her increasingly erratic behaviour, she nevertheless feels ever more stifled and repressed. Motherhood, womanhood, the banality of love, the terrors of desire, the inexplicable brutality of another person carrying your heart forever Die, My Love faces all this with a raw intensity. It's not a question of if a breaking point will be reached, but rather when and how violent a form will it take?

    She insists they are middle class, but Orestes is not convinced. And after another fraudulent election and the disappearance of his younger brothers Castor and Pollux, he heads off on an adventure.Orestes meets a procession of pilgrims, a stoner uncle called Pink Floyd and a beguiling politician who teaches him how to lie, and he learns some valuable lessons about families, truth and bovine artificial insemination.With Quesadillas, Juan Pablo Villalobos serves up a wild banquet. Anything goes in this madcap Mexican satire about politics, big families, and what it means to be middle class.

    It is 1945, World War II has just ended, but those bloody events have had no impact on a country that is only on the cusp of industrializing. One day, more bored than usual, Demetrio visits a bordello in search of a libidinous solution to his malaise. There he begins an all-consuming and, all things considered, perfectly satisfying relationship with a prostitute named Mireya.A letter from his mother interrupts Demetrio’s debauched idyll: she asks him to return home to northern Mexico to accompany her to a wedding in a small town on the edge of the desert. Much to his mother’s delight, he meets the beautiful and virginal Renata and quickly falls in love—a most proper kind of love.Back in Oaxaca, Demetrio is torn, the poor cad. Naturally he tries to maintain both relationships, continuing to frolic with Mireya and beginning a chaste correspondence with Renata. But Mireya has problems of her own—boredom is not among them—and concocts a story that she hopes will help her escape from the bordello and compel Demetrio to marry her. Almost Never is a brilliant send-up of Latin American machismo that also evokes a Mexico on the verge of dramatic change.

    Because he taught me that the most haunting mysteries are those of everyday life. -- Gabriel Garcia Marquez

    “The Youngest Doll,” based on a family anecdote, is a stunning literary expression of Rosario Ferré’s feminist and social concerns. It is the premier story in a collection that was originally published in Spanish in 1976 as Papeles de Pandora and is now translated into English by the author. The daughter of a former governor of Puerto Rico, Ferré portrays women loosening the constraints that have bound them to a patriarchal culture. Anger takes creative rather than polemical form in ten stories that started Ferré on her way to becoming a leading woman writer in Latin America. The upper-middle-class women in The Youngest Doll, mostly married to macho men, rebel against their doll-like existence or retreat into fantasy, those without money or the right skin color are even more oppressed. In terms of power and influence, these women stand in the same relation to men as Puerto Rico itself does to the United States, and Ferré stretches artistic boundaries in writing about their situation. The stories, moving from the realistic to the nightmarish, are deeply, felt, full of irony and black humor, often experimental in form. The imagery is striking: an architect dreams about a beautiful bridge that “would open and close its arches like alligators making love”; a Mercedes Benz “shines in the dark like a chromium rhinoceros.” One story, “The Sleeping Beauty,” is a collage of letters, announcements, and photo captions that allows chilling conclusions to be drawn from what is not written. The collection includes Ferré’s discussion of “When Women Love Men,” a story about a prostitute and a society lady who unite in order to survive, and one that illustrates the woman writer’s “art of dissembling anger through irony.” In closing, she considers how her experience as a Latin American woman with ties to the United States has brought to her writing a dual cultural perspective.

    First published in 1889, Aves sin nido drew fiery protests for its unsparing expose of small town officials, judicial authorities, and priests who oppressed the native peoples of Peru. Matto de Turner was excommunicated by the Catholic Church, burned in effigy, and forced to emigrate to Argentina. In 1904, the novel was published in an English translation as with a modified ending. Successive English editions restored the original ending and translator's omissions. This edition follows the original version in Spanish, but comprises no less than 332 notes, adding more than 270 to the author's own 58 lexicographic annotations on Quecha and Spanish unusual terms, so necessary to grasp the real power of her prose. This annotated edition constitutes an important reading for all students of the indigenous cultures of South America.

    Using short, encyclopaedic/biographical entries, Wilcock profiles people who are definitely iconoclasts. They tear down traditional beliefs and scientific notions on many different topics, from utopias to biology, offering a riveting array of ideas. Some real people with iconoclastic bents are included along with some bizarre fictional characters.

    Alfonso, a young journalist, reveals, as in a brilliantly developed film script, the bloody events that occur in a desperate and violent city.

    Originally published in New York City in 1882, Cirilo Villaverde's novel has fascinated readers inside and outside Cuba since the late 19th century. In this new English translation, a vast landscape emerges of the moral, political, and sexual depravity caused by slavery and colonialism. Set in the Havana of the 1830s, the novel introduces us to Cecilia, a beautiful light-skinned mulatta, who is being pursued by the son of a Spanish slave trader, named Leonardo. Unbeknownst to the two, they are the children of the same father. Eventually Cecilia gives in to Leonardo's advances; she becomes pregnant and gives birth to a baby girl. When Leonardo, who gets bored with Cecilia after a while, agrees to marry a white upper class woman, Cecilia vows revenge. A mulatto friend and suitor of hers kills Leonardo, and Cecilia is thrown into prison as an accessory to the crime. For the contemporary reader Helen Lane's masterful translation of Cecilia Vald�s opens a new window into the intricate problems of race relations in Cuba and the Caribbean. There are the elite social circles of European and New World Whites, the rich culture of the free people of color, the class to which Cecilia herself belonged, and then the slaves, divided among themselves between those who were born in Africa and those who were born in the New World, and those who worked on the sugar plantation and those who worked in the households of the rich people in Havana. Cecilia Vald�s thus presents a vast portrait of sexual, social, and racial oppression, and the lived experience of Spanish colonialism in Cuba.

    He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology, and horoscope. When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague." Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.

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

    Lawrence, Chekhov and Hemingway, Bukowski's writing is passionate, extreme and has attracted a cult following, while his life was as weird and wild as the tales he wrote. This collection of short stories gives an insight into the dark, dangerous lowlife of Los Angeles that Bukowski inhabited.From prostitutes to classical music, Bukowski ingeniously mixes high and low culture in his 'tales of ordinary madness'. These are angry yet tender, humorous and haunting portrayals of life in the underbelly of Los Angeles.A .45 to pay the rent --Doing time with public enemy no. 1 --Scenes from the big time --Nut ward just east of Hollywood --Would you suggest writing as a career? --The great Zen wedding --Reunion --Cunt and Kant and a happy home --Goodbye Watson --Great poets die in steaming pots of shit --My stay in the poet's cottage --The stupid Christs --Too sensitive --Rape! Rape! --An evil town --Love it or leave it. A dollar and twenty cents --No stockings --A quiet conversation piece --Beer and poets and talk --I shot a man in Reno --A rain of women --Night streets of madness --Purple as an iris --Eyes like the sky --One for Walter Lowenfels --Notes of a potential suicide --Notes on the pest --A bad trip --Animal crackers in my soup --A popular man --Flower horse --The big pot game --The blanket