Hopscotch is the dazzling, freewheeling account of Oliveira's astonishing adventures.The book is highly influenced by Henry Miller’s reckless and relentless search for truth in post-decadent Paris and Daisetz Teitaro Suzuki’s modal teachings on Zen Buddhism.Cortázar's employment of interior monologue, punning, slang, and his use of different languages is reminiscent of Modernist writers like Joyce, although his main influences were Surrealism and the French New Novel, as well as the "riffing" aesthetic of jazz and New Wave Cinema.In 1966, Gregory Rabassa won the first National Book Award to recognize the work of a translator, for his English-language edition of Hopscotch. Julio Cortázar was so pleased with Rabassa's translation of Hopscotch that he recommended the translator to Gabriel García Márquez when García Márquez was looking for someone to translate his novel One Hundred Years of Solitude into English. "Rabassa's One Hundred Years of Solitude improved the original," according to García Márquez.

    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?

    In Brodie's Report, he also returned to the style of his earlier work with its brutal realism, nightmares, and bloodshed. Many of these stories, including Unworthy and The Other Duel, are set in the macho Argentinean underworld, and even the rivalries between artists are suffused with suppressed violence. Throughout, opposing themes of fate and free will, loyalty and betrayal, time and memory flicker in the recesses of these compelling stories, among the best Borges ever wrote.

    The next morning, Hans meets an old organ-grinder in the market square and immediately finds himself enmeshed in an intense debate—on identity and what it is that defines us—from which he cannot break free.Indefinitely stuck in Wandernburg until his debate with the organ-grinder is concluded, he begins to meet the various characters who populate the town, including a young freethinker named Sophie. Though she is engaged to be married, Sophie and Hans begin a relationship that defies contemporary mores about female sexuality and what can and cannot be said about it.Traveler of the Century is a deeply intellectual novel, chock-full of discussions about philosophy, history, literature, love, and translation. It is a book that looks to the past in order to have us reconsider the conflicts of our present. The winner of Spain’s prestigious Alfaguara Prize and the National Critics Prize, Traveler of the Century marks the English-language debut of Andrés Neuman, a writer described by Roberto Bolaño as being “touched by grace.”

    Set on a mysterious island, Bioy’s novella is a story of suspense and exploration, as well as a wonderfully unlikely romance, in which every detail is at once crystal clear and deeply mysterious.Inspired by Bioy Casares’s fascination with the movie star Louise Brooks, The Invention of Morel has gone on to live a secret life of its own. Greatly admired by Julio Cortázar, Gabriel García Márquez, and Octavio Paz, the novella helped to usher in Latin American fiction’s now famous postwar boom. As the model for Alain Resnais and Alain Robbe-Grillet’s Last Year at Marienbad, it also changed the history of film.

    Unpredictable, daring, and highly controlled, yet somehow haywire, a Bolano story might concern an elusive plagiarist, or an elderly lawyer giving up city life for an improbable return to the family estate, now gone to wrack and ruin. Bolano's stories have been applauded as "bleakly luminous and perfectly calibrated" (Publishers Weekly) and"complex and provocative" (International Herald Tribune), and as Francine Prose said in The New York Times Book Review, "something extraordinarily beautiful and (at least to me) entirely new." Two fascinating essays are also included.

    In this gorgeously wrought, award-winning novel, Vásquez confronts the history of his home country, Colombia.In the city of Bogotá, Antonio Yammara reads an article about a hippo that had escaped from a derelict zoo once owned by legendary Colombian drug kingpin Pablo Escobar. The article transports Antonio back to when the war between Escobar’s Medellín cartel and government forces played out violently in Colombia’s streets and in the skies above.Back then, Antonio witnessed a friend’s murder, an event that haunts him still. As he investigates, he discovers the many ways in which his own life and his friend’s family have been shaped by his country’s recent violent past. His journey leads him all the way back to the 1960s and a world on the brink of change: a time before narco-trafficking trapped a whole generation in a living nightmare.Vásquez is “one of the most original new voices of Latin American literature,” according to Nobel Prize winner Mario Vargas Llosa, and The Sound of Things Falling is his most personal, most contemporary novel to date, a masterpiece that takes his writing—and will take his literary star—even higher.*Winner of the 2014 International IMPAC DUBLIN Literary Award

    The story of her life is the story of the paintings, and painters, who matter to her. Her intimate, digressive voice guides us through a gallery of moments that have touched her.In these pages, El Greco visits the Sistine Chapel and is appalled by Michelangelo’s bodies. The mystery of Rothko's refusal to finish murals for the Seagram Building in New York is blended with the story of a hospital in which a prostitute walks the halls while the narrator's husband receives chemotherapy. Alfred de Dreux visits Géricault's workshop; Gustave Courbet's devilish seascapes incite viewers “to have sex, or to eat an apple”; Picasso organizes a cruel banquet in Rousseau’s honor. . . . All of these fascinating episodes in art history interact with the narrator's life in Buenos Aires—her family and work; her loves and losses; her infatuations and disappointments. The effect is of a character refracted by environment, composed by the canvases she studies.Seductive and capricious, Optic Nerve is a book that captures, like no other, the mysterious connections between a work of art and the person who perceives it.

    The beginning is marked by a vivid memory, which I can reconstruct down to the last detail. Before, there is nothing, and after, everything is an extension of the same vivid memory, continuous and unbroken, including the intervals of sleep, up to the point where I took the veil ." So starts Cesar Aira's astounding "autobiographical" novel. Intense and perfect, this invented narrative of childhood experience bristles with dramatic humor at each stage of growing up: a first ice cream, school, reading, games, friendship. The novel begins in Aira's hometown, Coronel Pringles. As self-awareness grows, the story rushes forward in a torrent of anecdotes which transform a world of uneventful happiness into something else: the anecdote becomes adventure, and adventure, fable, and then legend. Between memory and oblivion, reality and fiction, Cesar Aira's How I Became a Nun retains childhood's main treasures: the reality of fable and the delirium of invention.A few days after his fiftieth birthday, Aira noticed the thin rim of the moon, visible despite the rising sun. When his wife explained the phenomenon to him he was shocked that for fifty years he had known nothing about "something so obvious, so visible." This epiphany led him to write How I Became a Nun. With a subtle and melancholic sense of humor he reflects on his failures, on the meaning of life, and the importance of literature.

    Bonsai is accessible yet profound—as one critic in Chile’s Capital newspaper put it, “Brief as a sigh and forceful as a blow.”

    The novel follows Bolívar as he takes his final journey in 1830 down the Magdalena River toward the sea, revisiting the scenes of his former glory and lamenting his lost dream of an alliance of American nations. Forced from power, dogged by assassins, and prematurely aged and wasted by a fatal illness, the General is still a remarkably vital and mercurial man. He seems to remain alive by the sheer force of will that led him to so many victories in the battlefields and love affairs of his past. As he wanders in the labyrinth of his failing powers-and still-powerful memories-he defies his impending death until the last.The General in His Labyrinth is an unforgettable portrait of a visionary from one of the greatest writers of our time.

    In the end, however, it is a meditation on the nature of totalitarian regimes, on the transition to democracy after the end of such regimes, and on the power of language to create and define reality. Ricardo Piglia combines his trademark avant-garde aesthetics with astute cultural and political insights into Argentina’s history and contemporary condition in this conceptually daring and entertaining work.The novel follows Junior, a reporter for a daily Buenos Aires newspaper, as he attempts to locate a secret machine that contains the mind and the memory of a woman named Elena. While Elena produces stories that reflect on actual events in Argentina, the police are seeking her destruction because of the revelations of atrocities that she—the machine—is disseminating through texts and taped recordings. The book thus portrays the race to recover the history and memory of a city and a country where history has largely been obliterated by political repression. Its narratives—all part of a detective story, all part of something more—multiply as they intersect with each other, like the streets and avenues of Buenos Aires itself. The second of Piglia’s novels to be translated by Duke University Press—the first was Artifical Respiration—this book continues the author’s quest to portray the abuses and atrocities that characterize dictatorships as well as the difficulties associated with making the transition to democracy. Translated and with an introduction by Sergio Waisman, it includes a new afterword by the author.

    As he revisits the details of the investigation, he is reacquainted with his similarly long, unrequited love for Irene Hornos, then just an intern, now a respected judge. Absorbing and masterfully crafted, The Secret in Their Eyes is a meditation on the effects of the passage of time and unfulfilled desire.Eduardo Sacheri’s tale is imbued with the subdued terror that characterized the Dirty War of 1970s Argentina, and was made into the Academy Award winning film of the same name in 2009.

    Its acknowledged place in Latin American fiction and its appeal to a fresh generation of readers have warranted this new translation by Alfred Mac Adam, translator (with the author) of Fuentes's Christopher Unborn.As in all his fiction, but perhaps most powerfully in this book, Fuentes is a passionate guide to the ironies of Mexican history, the burden of its past, and the anguish of its present.

    In these stories, reminiscent of Shirley Jackson and Julio Cortázar, three young friends distract themselves with drugs and pain in the midst a government-enforced blackout; a girl with nothing to lose steps into an abandoned house and never comes back out; to protest a viral form of domestic violence, a group of women set themselves on fire. But alongside the black magic and disturbing disappearances, these stories are fueled by compassion for the frightened and the lost, ultimately bringing these characters—mothers and daughters, husbands and wives—into a surprisingly familiar reality. Written in hypnotic prose that gives grace to the grotesque, Things We Lost in the Fire is a powerful exploration of what happens when our darkest desires are left to roam unchecked, and signals the arrival of an astonishing and necessary voice in contemporary fiction.