He is the sole survivor of an ill-fated mining expedition in which both his masters, William and Richard Craver, died and from which their African porters fled. Garvey returns to London carrying two diamonds of extraordinary size, spinning a story too unspeakably terrifying to be believed. He is promptly arrested. Tommy Thompson, a London ghostwriter for a ghostwriter for a ghostwriter (don't ask!), is approached by his attorney to document Garvey's unholy African odyssey. From his prison cell awaiting the murder trial, Garvey recounts the mind-boggling horror that the Craver mining expedition encountered in the dark recesses of the Congo. Exactly how did the Craver brothers die? What unearthly forces would drive men to commit such acts of immeasurable brutality? Could love have possibly bloomed in the heart of such darkness? Only Tommy can untangle the mysteries of the Garvey case. A brilliant literary pastiche and tongue-in-cheek pulp African adventure, Pandora in the Congo is, at its heart, a fabulist literary exploration of imagination, reminding us that there is rarely one version to any story, and always more than meets the eye.

    They span many fiction genres; jungle tale, Gothic horror story, psychological study, and morality tale- and possess a universality that has made him a classic Latin American writer.Horacio Quiroga was a master storyteller and author of over two hundred pieces of Latin American fiction that have been compared to the works of Poe, Kipling, and London. Like his stories, his own life from his birth in Uruguay to his suicide in Argentina was filled with adventure, tragedy, and violence.

    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.

    A readable introduction to scientific facts about the earth, the solar system, and the universe.

    An adaptation of the ballad singing culture of the gaucho minority that saw its way of life threatened by social and political changes of the 19th century.

    Don Quixote, errant knight and sane madman, with the company of his faithful squire and wise fool, Sancho Panza, together roam the world and haunt readers' imaginations as they have for nearly four hundred years.

    Gerardo Escobar has just been chosen to head the commission that will investigate the crimes of the old regime when his car breaks down and he is picked up by the humane doctor Roberto Miranda. But in the voice of this good Samaritan, Gerardo's wife, Paulina Salas, thinks she recognizes another man—the one who raped and tortured her as she lay blindfolded in a military detention center years before.

    Too many bad words and too much marihuana for the youth of brand-new neoliberal Chile. But looking beyond his dazzling style and controversial opinions, these stories are plain good literature.

    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.

    His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the "antipoet") hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinberger's celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

    Like Bizet's legendary gypsy, Carmen "La Coja" (The Cripple) Santos is hilarious, passionate, triumphant, and mesmerizing.  A renowned flamenco dancer in Chicago despite the legacy of childhood polio, Carmen has long enjoyed an affair with Agustín, the married director of her troupe--a romance that's now growing stale. When she begins a new, passionate liaison with Manolo, Agustín's grandson and a dancer of natural genius, an angry rivalry is sparked. Carmen finally makes her way back to happiness in this funny, fiery story that's equal parts soap opera, tragicomedy, and rhapsody.

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

    During the seemingly endless journey, he has conversations that range from his childhood to speculations about the death camps. When at last the fantastic, Wagnerian gates to Buchenwald come into sight, the young Spaniard is left alone to face the camp.

    Very quickly the Castro government suppressed his writing and persecuted him for his homosexuality until he was finally imprisoned.

    Playful illustrations bring over 70 Spanish words to life in ways sure to tickle a child's fancy, while introducing a new language and culture.