With uncanny insight, he takes us inside the minds of an unrepentant Nazi, an imprisoned Mayan priest, fanatical Christian theologians, a woman plotting vengeance on her father’s “killer,” and a man awaiting his assassin in a Buenos Aires guest house.  This volume also contains the hauntingly brief vignettes about literary imagination and personal identity collected in The Maker, which Borges wrote as failing eyesight and public fame began to undermine his sense of self.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    "The stories are rich and startling in their matter and confident in their manner....They are--the word cannot be avoided--magical."--John Updike, The New YorkerThis collection of fiction, representing some of García Márquez's earlier work, includes eleven short stories and a novella, Innocent Eréndira, in which a young girl who dreams of freedom cannot escape the reach of her vicious and avaricious grandmother."Garcí­a Márquez's fictional universe has the same staggeringly gratifying density and texture as Proust's Faubourg Saint-Germain and Joyce's Dublin....Arguably the best of the Latin Americans."--Martin Kaplan, The New Republic"It is the genius of the mature Garcí­a Márquez that fatalism and possibility somehow coexist, that dreams redeem, that there is laughter even in death.'--John Leonard, New York Times

    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.

    In the still darkness of their cell, Molina re-weaves the glittering and fragile stories of the film he loves, and the cynical Valentin listens. Valentin believes in the just cause which makes all suffering bearable; Molina believes in the magic of love which makes all else endurable. Each has always been alone, and always - especially now - in danger of betrayal. But in cell 7 each surrenders to the other something of himself that he has never surrendered before.

    In 1988, she introduced the world to Eva Luna in a novel of the same name that recounted the adventurous life of a young Latin American woman whose powers as a storyteller bring her friendship and love. Returning to this tale, Allende presents The Stories of Eva Luna, a treasure trove of brilliantly crafted stories. Lying in bed with her European lover, refugee and journalist Rolf Carlé, Eva answers his request for a story "you have never told anyone before" with these twenty-three samples of her vibrant artistry. Interweaving the real and the magical, she explores love, vengeance, compassion, and the strengths of women, creating a world that is at once poignantly familiar and intriguingly new. Two words --Wicked girl --Clarisa --Toad's mouth --The gold of Tomás Vargas --If you touched my heart --Gift for a sweetheart --Tosca --Walimai --Ester Lucero --Simple María --Our secret --The little Heidelberg --The judge's wife --The road north --The schoolteacher's guest --The proper respect --Interminable life --A discreet miracle --Revenge --Letters of betrayed love --Phantom palace --And of clay are we created

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

    Time shifts from one consciousness to another in a hypnotic flow of dreams, desires, and memories, a world of ghosts dominated by the figure of Pedro Páramo - lover, overlord, murderer.Rulfo's extraordinary mix of sensory images, violent passions, and unfathomable mysteries has been a profound influence on a whole generation of Latin American writers, including Carlos Fuentes, Mario Vargas Llosa, and Gabriel García Márquez. To read Pedro Páramo today is as overwhelming an experience as when it was first published in Mexico back in 1955.

    There Felipe meets her beautiful green-eyed niece, Aura. His passion for Aura and his gradual discovery of the true relationship between the young woman and her aunt propel the story to its extraordinary conclusion.

    The narrator, unable to stop himself, tries to track Ruiz-Tagle down, and sees signs of his activity over and over again. A corrosive, mocking humor sparkles within Bolaño's darkest visions of Chile under Pinochet. In Bolaño's world there's a big graveyard and there's a big graveyard laugh. (He once described his novel By Night in Chile as "a tale of terror, a situation comedy, and a combination pastoral-gothic novel.")Many Chilean authors have written about the "bloody events of the early Pinochet years, the abductions and murders," Richard Eder commented in the The New York Times: "None has done it in such a dark and glittering fashion as Roberto Bolaño."

    Over beers and a sea of freely spoken words, the conversation flows between two individuals, Santiago and Ambrosia, who talk of their tormented lives and of the overall degradation and frustration that has slowly taken over their town. Through a complicated web of secrets and historical references, Mario Vargas Llosa analyzes the mental and moral mechanisms that govern power and the people behind it. More than a historic analysis, Conversation in The Cathedral is a groundbreaking novel that tackles identity as well as the role of a citizen and how a lack of personal freedom can forever scar a people and a nation.

    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.

    Parable, paradox, anecdote, dream, and autobiography blend into an exuberant world view and affirmation of human possibility.

    Not an ordinary historical novel, but rather a poetic, highly informed essay, it forth, in rich prose, a host of memorable impressions -- of Revolutionary Paris, of Caribbean islands sweltering in the sunlight, and of the Revolutionary ideals which, transplanted to these islands, died in blood, sweat and a return to slavery and the old ways. Its chief protagonist is Victor Hugues, a historical figure, who is shown through the eyes of three fictional orphaned adolescents -- Carlos, Sofia, and their cousin Esteban, whom he dazzled at first meeting. Esteban follows Victor as he rises from baker's son and merchant to Revolutionary master of the Caribbean, but sickens eventually of bloodshed and of Victor's ruthless changing to fit shifting policies. Sofia, who loves Victor and joins him, is also finally sickened by the betrayal of Revolutionary ideals, and the changes power has made in Victor. Above its many modern political parallels, this story is powerful evocation of the mysterious evolution, decay and persistence of all human relations and ambitions. Splendidly written.

    But tourists and opportunists are making inroads into the area, and the balance of nature is making a dangerous shift. Translated by Peter Bush.

    He saw the beauty of the Peruvian landscape, as well as the grimness of social conditions in the Andes, through the eyes of the Indians who are a part of it. Ernesto, the narrator of Deep Rivers, is a child with origins in two worlds. The son of a wandering country lawyer, he is brought up by Indian servants until he enters a Catholic boarding school at age 14. In this urban Spanish environment he is a misfit and a loner. The conflict of the Indian and the Spanish cultures is acted out within him as it was in the life of Arguedas. For the boy Ernesto, salvation is his world of dreams and memories. While Arguedas' poetry was published in Quechua, he invented a language for his novels in which he used native syntax with Spanish vocabulary. This makes translation into other languages extremely difficult, and Frances Horning Barraclough has done a masterful job, winning the 1978 Translation Center Award from Columbia University for her efforts.