Rightslist 2016 by Studio Grimorio

G 2015-16 A El original es infiel a la

traducción The original is unfaithful to the

translation

Jorge Luis Borges

A na Internatio

STUDIO

20 15A -16

GRIMORIO Literary Agency Bologna | Buenos Aires

CATALOGU

Studio Grimorio is the brainchild of agent and translator Mariana Eugenia Califano. It is an international literary agency based in Bologna and Buenos Aires and a “factory” specialized in literary translations from Spanish into Italian and localizations from several languages into Italian. Studio Grimorio represents and promotes authors and publishers, mainly foreigners. Authors and publishers from: ARGENTINA | URUGUAY | PERU | BRAZIL | ITALY | SPAIN | SRI LANKA | FAROE ISLANDS | ICELAND

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marianacalifano

www.issuu.com/litaggrimorio WWW.GRIMORIO.IT

G A 2015

TRANSLATION GRANT FUNDS

ARGENTINA The application form for translation support may be obtained from the Committee’s web page, http://programa-sur.mrecic.gov.ar/en/ reg_form.html, and from the Diplomatic and Consular Representations of the Argentine Republic. The publisher may present the application for translation support and the required documentation at the Reception Desk of the Ministry, or of the Diplomatic and Consular Representations, or may send it by registered post: Programa Sur/ Dicul– Dirección General de Asuntos Culturales   Ministerio de Relaciones Exteriores y Culto de la República Argentina   Esmeralda 1212 Oficina 1018 – 10th floor   C1007ABR Buenos Aires, Ciudad de Buenos Aires   Argentine Republic Head of the Programa SUR: Lic. Diego Lorenzo. lzd@mrecic.gov.ar | dicul@mrecic.gov.ar Application deadline: February 15 and September 30

BRAZIL Brazil's National Library Foundation, an office of the Ministry of Culture, has created the Support Program for the Translations and Publications of Brazilian Authors Abroad in order to foster a greater presence of works of local literature in foreign publishing company's catalogs and in bookstore shelves and virtual bookshelves throughout the world. For futher information contact: Tel: +55 21 2220-2057 | e-mail: translation@bn.br http://www.bn.br/portal/arquivos/pdf/TranslationGrantn011320132015english.pdf

A 2015 - 2016

| 64, LIBIA RD. | 40138 | | BOLOGNA | ITALY | | P. {+39} 051 716 20 20 | | M. {+39} 329 22 67 452 | | VAT NUMBER 03198321204 | info@grimorio.it

FAROE ISLANDS Go to the FarLit website, www.farlit.fo, to download a copy of the application from the Faroese literature in translation. Application should be sent to Guðrun Gaard - gudrung@kallnet.fo Tórsbyrgi 5 FO-100 Tórshavn, Faroe Islands (mark the envelope “Transaltion Grant”) Application deadline: April 1 and October 1

SPAIN Go to the Ministerio de Educación, Cultura y Deporte website and follow those links: http://www.mcu.es/ayudasSubvenciones/Libro/Libro_Ayudas2013_TraduLenguaExtranjera.html http://www.boe.es/diario_boe/txt.php?id=BOE-A-2013-4161

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Bamboo Editorial is a Brazilian publishing house focused on high quality illustrated books for children and adults. Bamboo’s goal is to introduce new authors and illustrators and make sensitive, full of information and fantasy books that will bring that wonderful feeling of discovery when we found pleasure learning something that we did not know before. RIGHTS LIST | 2015 - 16 And more, Bamboo also wants to combine editorial tradition with new technologies, developing digital for452 each one of (+39) products 329 22 67 051 716 20between 20 our books. So the readers don’t (+39) need to choose paper or tablet: with Bamboo’s books he has both and his reading will Libia Rd. | books 40138that | Bologna be more enjoyable and fun. We 64 make unique remain | Italy in the minds of our readers as a valuable source of knowledge and info@grimorio.it entertainment. marian@grimorio.it

STUDIO GRIMORIO

www.grimorio.it We maintain global rights on all the books.

Are you interested? Do notPUBLISHERS hesitate to contact us by e-mail. We would be more than happy to provide you with reading copies as well as further information. PUBLISHER | WEBSITE WITH CATALOGUE | NOTES Best regards!

BACCHILEGA JUNIOR

N IT

Moacir Marte, Publisher www.bacchilegaeditore.it foreignrights@bambooeditorial.com.br www.bambooeditorial.com.br KIDS | CHILDREN

BAMBOO EDITORIAL | SÃO PAOLO

www.bambooeditorial.com.br

KIDS | CHILDREN | APPS POLIFONÍA EDITORA | LIMA

OUR MISSION To publish quality books that

www.polifoniaeditora.com remain in the minds of our readers as a valuable source of knowledge and entertainment.

ILLUSTRATED BOOKS

SPOON FACTORY | PAVIA

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ILLUSTRATED BOOKS OLMO EDICIONES | BUENOS AIRES www.olmoediciones.com

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URUGUAY | Spanish

ARG

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Leandro Ávalos Blacha | MALICIA (Malice)

A ING FORTHCOM

A A ING

ARG

100 aprox.

ARG

110 aprox.

Previously unreleased GENRE Horror | Ghost Stories

Planeta Argentina (Emecé or Tusquets) | FORTHCOMING 2017 GENRE Short Stories | Literary Fiction ANNA FADO | La Ballata di Ross (The Ballad of Rox)

d unrelease

90 aprox.

GENRE New Weird | Horror | Grotesque

ESTHER CROSS | LOS QUE VOLVIERON (The Ones Who Came Back )

FORTHCOM

ARG

Entropía, Buenos Aires | FORTHCOMING 2016

Leandro Ávalos Blacha | UNA CASA DE PIE (A Standing House)

d unrelease

165 aprox.

Previously unreleased GENRE Literary Fiction - Chick-lit

HOT NEWS

STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

FICTION TRANSLATION GRANT FUNDS AVAILIBLE AUTHOR | TITLE | NOTES

Elsa Osorio Literary and historical fiction from Argentina LA CAPITANA (Mika) 144 pp. 2011 – Spain: La Capitana (Siruela) 2012 – Latin America: Mika (Seix Barral) 2012 – Italy: La miliziana (Guanda) 2012 – Germany Die Capitana (Suhrkamp) 2012 – Netherlands: Mika (Ambo-Athos) 2012 – France: La capitana (Métailié) CALLEJÓN CON SALIDA (Dead end [with exit]) 143 pp. 2009 – Argentina: Callejón con salida (Planeta) 2009 – Spain: Callejón con salida (Siruela) 2009 – Italy: Sette notti d’insonnia (Guanda) 2010 – Germany: Sackgasse mit Ausgang. (Suhrkamp) 2010 – Netherlands: Uitweg. (Ambo) 2010 – France: Sept nuits d’insomnie (Métailié) CIELO DE TANGO (Lesson of Tango) 420 pp. 2006 | 2007 – Spain: Cielo de Tango (Siruela | Círculo de lectores) 2007 – Argentina: Cielo de Tango (Planeta) 2006 | 2008– Netherlands: Ana, (AmboAnthos) 2006 – Italy: Lezione di Tango, (Guanda | Tea pocket) 2007 | 2008 – Germany: Im Himmel Tango (Insel | Suhrkamp pocket) 2007 | 2008 – France: Tango (Métailié | Point pocket) 2007 – Portugal: Tango (Asa) 2008 – Brazil: Cielo de Tango (Planeta) 2014 - Argentina: Cielo de Tango (Colihue) Prox – Poland: Cielo de Tango (Oficyna Foksal) A VEINTE AÑOS, LUZ (My name is Light) 432 pp. 1998 | 1999 | 2002 | 2002 | 2008 – Spain: A veinte años, Luz (Alba | Círculo de lectores | Punto del Lectura pocket | Siruela) 1999 | 2006 – Argentina and Mexico: A veinte años, Luz (Mondadori | Planeta) 2000 | 2002 | 2005 | 2006 | 2009 – Italy: I ventanni di Luz, (Guanda | Tea pocket) 2000 | 2002 | 2009 – France: Luz ou Le Temps Sauvage (Métailié | Club Le Grand Livre Du Moi | Métailié Suite) 2000 | 2001 | 2002 | 2006 – Germany: Mein Name ist Luz (Insel | Suhrkamp pocket | Büchergilde Gutenberg | BTB pocket) 2000 | 2001 | 2002 | 2003 | 2005 | 2007 – Netherlands: Luz. Na twintig jaar, licht, (AmboAnthos | Flamingo-pocket Ambo- Anthos) 2000 – Portugal: Ha vinte anos, Luz (Asa) 2001 – Brazil: Ha vinte anos, Luz (Objectiva) 2003 | 2004 – UK: My name is Light (Bloomsbury | Bloomsbury pocket) 2004 – USA: My name is Light (Bloomsbury USA) 2001 | 2003 – Sweden: Mitt namn är Luz (Albert Bonniers Förlag | Albert Bonniers Förlag) 2001 | 2003 – Denmark: For enden af mørket (Centrum | Gyldemdal school edition) 2001 – Finland: Nimeni on Luz (Otava) 2001 – Greece: Το Όνομά μου είναι Λους (Harlenic Hellas Publishing) 2001 – Norway: Luz (J.M. Stenersens) 2001 – Japan: Luz (Sony Magazines) 2001 – Israel: Luz (Keter) 2001 – Poland: Luz (Oficyna Foksal) 2001 – Indonesia: My name is Light (Pasataka Alvabet) 2012 – Taiwan: Wo de ming zi shi guang (Nan fang jia yuan wen hua) 2014 - Argentina: A veinte años, Luz (Colihue)

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

FICTION AUTHOR | TITLE | NOTES

JÓgvan Isaksen Crime fiction from Faroe Islands BLÍÐ ER SUMMARNÁTT Á FØROYALANDI (Gentle is the Faroese summer’s night) 264 pp. 1990 - Mentunargrunnur Studentafelagsins 1991 – Danish: Blid er den færøske sommernat, Torgard 1994 – Icelandic Ljuf Er Sumarnott i Faereyjum, Uglan 2011 – Danish: Blid er den færøske sommernat, 2. edition, paperback. Torgard 1995 – German: Mild ist die färöische Sommernacht, Pettersson, Münster 1995 2006 – German: Neuausgabe: Endstation Färöer, Grafrt 2014 – Egypt and arabic speaking countries (Translations to Sphynx) GRÁUR OKTOBER (Gray October) 244 pp. 1994 – Mentunargrunnur Studentafelagsins 1994 – Icelandic: Grár október. Uglan 1995 – Danish: Grå oktober, Torgard 2011 – Danish: Grå oktober, 2. udgave, paperback. Torgard 2007 – German: Option Färöer. Grafrt 2014 – Egypt and arabic speaking countries (Translations to Sphynx) KROSSMESSA (Red Mass) 290 pp. 2005 - Mentunargrunnur Studentafelagsins 2009 – Danish: Korsmesse, Torgard 2011 – Danish: Korsmesse, 2. udgave, paperback. Torgard 2016 - English: Walpurgis Tide, Norvik Press ADVENTUS DOMINI (Adventus Domini) 253 pp. 2006 - Mentunargrunnur Studentafelagsins METUSALEM (Matusalem) 257 pp. 2008 - Mentunargrunnur Studentafelagsins 2011 – Danish: Metusalem, Torgard NORÐLÝSI (Northern light) 248 pp. 2009 - Mentunargrunnur Studentafelagsins 2013 - Danish: Nordlys, Torgard. NORSKA LØVA (Lion of the North) 268 pp. 2010 - Mentunargrunnur Studentafelagsins DEYDNINGAR DANSA Á SANDI (Dance of death on the beach) 272 pp. 2011 - Mentunargrunnur Studentafelagsins TANN FIMTI MAÐURIN (The fifth man) 287 pp. First novel in a new series by number one selling Faroese crime author 2012 - Mentunargrunnur Studentafelagsins, Danish translation availible AT MYRÐA VIÐ SKRIVARABORÐIÐ JÓGVAN ISAKSEN

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PRÆDIKARIN (The preacher man) 300 pp. 2013 - Mentunargrunnur Studentafelagsins AT MYRÐA VIÐ SKRIVARABORÐIÐ (At the murder desk) 141 pp. 2014 - Mentunargrunnur Studentafelagsins Popular non-fiction with images on crime writing

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

FICTION AUTHOR | TITLE | NOTES

Rafael MarÍn Trechera Adventurous fiction from the Marvel’s “Fantastic 4” and “The Inhumans” author and William Gibson, Dan Simmons, Orson Scott Card, Lois McMaster Bujold, John Scalzi, Connie Willis, Joe Haldeman etc. translator

LÁGRIMAS DE LUZ (Tears of light) 432 pp. 1984 – Fénix, 2nd edition 1986, Orbis, 3^ edition 1986, Hyspamérica, 4th edition 2002, Gigamesh, 5^ edition 2008, Gigamesh, Sci-fi EL MUCHACHO INCA (The Inca Boy) 144 pp. 1993, Miraguano, Adventure - Fantastic - Historic OZYMANDIAS (short stories) (Ozymandias) 109 pp. 1995, La Calle de la Costa, Fantastic - Horror - Adventure DETECTIVE SIN LICENCIA (Detective without license) 216 pp. 2003, Lista Negra, Crime Novel ELEMENTAL, QUERIDO CHAPLIN (Elementary my dear Chaplin) 254 pp. 2005, Minotauro, Holmesian Pastiche - Crime Novel Rights sold in Italy: Meridiano Zero, 2012 JUGLAR (Jester) 284 pp. 2006, Minotauro, Planeta España, Historical - Adventure LA LEYENDA DEL NAVEGANTE (The Seafarer’s legend) 559 pp. 2006 – Minotauro, Planeta España, 2nd edition 2013, Sportula, Fantasy Adventure PIEL DE FANTASMA (short stories) (Skin of ghost) 237 pp. 2010 - Ajec, Fantastic - Horror - Adventure LA CIUDAD ENMASCARADA (Masked City) 300 pp. 2011, Ajec., Thriller - horror EL NIÑO DE SAMARCANDA (The child of Samarkand) 208 pp. 2011, Paréntesis Editorial, Literary Fiction - Historical Fiction NUNCA DIGAS BUENAS NOCHES A UN EXTRAÑO (Never say goodnight to a stranger) 90 pp. 2012, Sportula Edition., Sci-fi - Noir LOS ESPEJOS TURBIOS (Murky mirrors) 282 pp. 2012, Ajec, Crime Novel

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

FICTION AUTHOR | TITLE | NOTES

Leandro Ávalos Blacha | BERAZACHUSSETTS

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160

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400

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ISBN 9789872350833 | Entropia, Buenos Aires, 2007 Premio Indio Rico 2007. Rights sold in France: Asphalte, 2011, Galimard, 2012 GENRE New Weird | Horror | Grotesque

Leandro Ávalos Blacha | MEDIANERA (The Go-Between) ISBN 9789871727537 | Eduvim, Córdoba, 2011 Rights sold in France: Asphalte, 2013 GENRE New Weird | Horror | Grotesque GASTÓN PÉREZ IZQUIERDO | Lepanto y la Armada de la Cruz (Lepanto and the Armada of the Cross) ISBN 9789871555529 | Olmo Ediciones, Buenos Aires, 2014

LITERARY GENRE Historical Novel

STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

FICTION AUTHOR | TITLE | NOTES

ESTHER Cross | EL BANQUETE DE LA ARAÑA (The spider’s banquet)

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238

ARG

144

ARG

176

ARG

141

ARG

208

ARG

ISBN 978-950-9779-55-6 | Tusquets, Barcelona, 1999

LITERARY GENRE Literary Fiction ESTHER Cross | RADIANA ISBN 9789500428668 | Emecé, Buenos Aires, 2007 2nd edition, 8vo Loco & Tren en Movimiento, Buenos Aires 2016 LITERARY GENRE Literary Fiction | Sci-Fi ESTHER Cross | KAVANAGH short stories ISBN 9509779997 | TusQuets, Madrid, 2004

LITERARY GENRE Literary Fiction

ESTHER Cross | LA SEÑORITA PORCEL (Ms. Porcel) ISBN 9786070300783 | Siglo XXI, Mexico City, 2009

LITERARY GENRE Literary Fiction Esther Cross | La mujer que escribió Frankenstein (The woman who wrote Frankenstein) ISBN 9789500435338 | Emecé, Buenos Aires 2013 LITERARY GENRE Literary Fiction | Biography

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

FICTION AUTHOR | TITLE | NOTES

VERA FOGWILL | Buenos, limpios y lindos (Good, neat and pretty)

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392

ARG

280

ARG

253

ARG

256

ARG

ISBN 9789507317545 | Planeta, Buenos Aires, november 2013 LITERARY GENRE Literary Fiction Florencia Etcheves | La virgen en tus ojos (The virgin in your eyes)   ISBN 9789504930181 | Planeta, Buenos Aires, november 2012 LITERARY GENRE Crime Fiction Ana MarÍa Bovo | Rosas Colombianas (Colombian Roses) ISBN 9500433397 | First Paperback Edition Emecé Editores SA, Argentina, 2008 | Second Paperback Edition. paperback Booket, Planeta, Argentina, 2011 GENRE Literary Fiction Sandra Prieto | Besar al sapo (Kissing the frog)   ISBN 9789504920441 | Planeta, Buenos Aires, April 2009 2nd edition: 2013, Vergara Editor LITERARY GENRE Chick-lit

OVEL

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Felisberto HernÁndez - Renzo Vayra | Las Hortensias Comic (The Daisy Dolls Graphic Novel) ISBN 9789871228810 | El Cuenco de Plata, Buenos Aires, December 2013 LITERARY GENRE Graphic Novel

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

NON FICTION AUTHOR | TITLE | NOTES

Jairo CoSTa | Amazônia Fantástica: os mais extraordinários mitos, lendas e mistérios da grande floresta (Fantastic Amazon: the most extraordinary myths, legends and mysteries of the great forest)

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216

176

240

136

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148

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208

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ISBN 978-85-66587-005 | Bamboo Editorial, São Paolo, 2013 (B&W) ETHNOGRAPHY MARIA JOSÉ SILVEiRa | De onde vêm as Histórias (Where Stories come from) ISBN 9788566587852 | Bamboo Editorial, São Paolo, 2015 (B&W) rights available worldwide except USA and Canada NARRATOLOGY ELOISA PRIETO | Quer ouvir uma História? (Would you like to hear a story?) ISBN 9788566587609 | Bamboo Editorial, São Paolo, 2014 (B&W) rights available worldwide except USA and Canada NARRATOLOGY Miguel Rodríguez AYAÇAGUER | Entre Machos - Fotografia y Animosidad Viril en los siglos XIX y XX (Among Men - Photography and Male Friendship in the 19th and 20th Centuries) ISBN 9789871555376 | Olmo Ediciones, Buenos Aires, 2012, | 30 cm. x 22 cm. PHOTOGRAPHY | SOCIAL HISTORY Leonel Hernan Contreras | Buenos Aires Football (2nd expanded edition) ISBN 9789871555505 | Olmo Ediciones, Buenos Aires, 2013-14, | 30 cm. x 22,4 cm. PHOTOGRAPHY | SOCIAL HISTORY | SPORT GRACIELA AGUILAR, LEONEL CONTRERAS, MÓNICA SANJURJO |Mercados de Buenos Aires ( Buenos Aires Markets) ISBN 9789871555567 | Olmo Ediciones, Buenos Aires, 2014 | 29,8 cm x 22,4 cm PHOTOGRAPHY | SOCIAL HISTORY

STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

NON FICTION AUTHOR | TITLE | NOTES

Omar LÓpez Mato| IATROS Historias de médicos, charlatanes y algunos tipos con ingenio. (Iatros - stories about doctors, charlatans and some other witty fellows)

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322

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160

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168

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264

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272

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253

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ISBN 9789872386450 | Olmo Ediciones, Buenos Aires, 2015 POPULAR NON FICTION |MEDICAL HISTORY Omar LÓpez Mato| CITY OF ANGELS The History of Recoleta Cemetery with 150 high resolution images ISBN 9789871555666 | Olmo Ediciones, Buenos Aires, 2015 | 16,5 x 24 x 1 cm PHOTOGRAPHY | SOCIAL HISTORY Omar LÓpez Mato| VIVIENDO EN EL PAÍS DE NUNCA MÁS (life in Neverland) ISBN 9789872386412 | Olmo Ediciones, Buenos Aires, 2007 URBAN SOCIOLOGY Omar LÓpez Mato | ANIMALITOS DE DIOS (God's Little Creatures) ISBN 9789871555338 | Olmo Ediciones, Buenos Aires, 2007, Illustrated | Rights sold in Italy: Odoya, 2013 POPULAR NON FICTION | HISTORY Omar LÓpez Mato | CRIATURAS DEL SEÑOR - Historias de Freaks, Colosos y Prodigios (Monsters like us, History of Freaks, Colossuses and Prodigies). ISBN 9789871555338 | First Edition, Olmo Ediciones, Buenos Aires, 2003 | Second Edition, Editorial Sudamericana, 2009 | Thrid Edition, Olmo Ediciones 2012 | Rights sold in Italy: Odoya, 2013 POPULAR NON FICTION | HISTORY Omar LÓpez Mato | TRAYECTOS POSTUMOS (Posthumous Wanderring) ISBN 9789871555338 | Olmo Ediciones, Buenos Aires, 2004 | Rights sold in Italy: Odoya, 2013, Spain - Autores Editores. POPULAR NON FICTION | HISTORY

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

NON FICTION AUTHOR | TITLE | NOTES

Omar LÓpez Mato| ARTISTS’ ILLS

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160

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194

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188

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140

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GABRIEL MARIO GÓMEZ | Arte y Ajedrez (Art and Chess) ISBN 9789871555543 | Olmo Ediciones, Buenos Aires, 2014, | 29,8 x 22,4 cm

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312

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(+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

NON FICTION AUTHOR | TITLE | NOTES

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Eugenio Marchiori | DE ZEUS A CEO (From Zeus to CEO)

312

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248

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200

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200

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176

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212

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ISBN 9789872386450 | Olmo Ediciones, Buenos AIres, 2011 MARKETING | MANAGEMENT Eugenio Marchiori | LOS DESAFIOS DE LA INCERTIDUMBRE: Ensayos para enfrentar la crisis de un mundo complejo (The Defy of Uncertainty: essays to face the crisis of a complex world) ISBN 9789871555031 | Olmo Ediciones, Buenos Aires, 2009 ANTHROPOLOGY | PHILOSOPHY Hugo Martínez de LeÓn | HISTORIA DE LA OBSCENIDAD (History of Obscenity) ISBN 9879871555123 | Olmo Ediciones, Buenos Aires, 2010, Illustrated | 29 x 22 x 1.4 cm Translations: Italy - Odoya, Poland - Wydawnictwo Czerwone i Czarne POPULAR NON FICTION | FASHION | HISTORY Juan JosÉ Revenga | América Mítica (Mythical America) ISBN 9789871555468 | Olmo Ediciones, Buenos Aires, 2013 Size: 21 x 21 x 1,2 cm | Texts + Photographies + DVD TRAVEL | ANTHROPOLGY | PHOTOGRAPHY Juan Romanella | De suelo al cielo y del cielo al suelo. Aerodinamia para pasajeros (From the ground to the sky and the sky to the ground: Aerodynamics for passengers) ISBN 9789871555475 | Olmo Ediciones, Buenos Aires, 2013 “AIRBORNE FOR DUMMIES” Armando Alonso PiÑeiro | LA TÉCNICA NORTEAMERICANA DEL GOLPE DE ESTADO (The American Way to the Coup) ISBN 9789871555215 | Olmo Ediciones, Buenos Aires, 2011 POLITOLOGY

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

Kids & ILLUSTRATED BOOKS AUTHOR | TITLE | NOTES Juan Chavetta | Muchas gracias a tuttis!!! (Thank you, tutti!)

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ISBN 9789871555482 | Olmo Ediciones | Buenos Aires 2013 | Fantastic Tales| AGE 4+

ILLUSTRATED BOOK Size: 19 x 19 x 0,6 cm. | Paperback

ILLUSTRATED BOOK Size: 26 x 21 x 0,8 cm | Hard cover

ILLUSTRATED BOOK Size: 20 x 23 cm | Hard cover

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

Kids & ILLUSTRATED BOOKS AUTHOR | TITLE | NOTES Micaela Chirif & Gabriel Alayza | Desayuno (Breakfast)

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ISBN 9786124590184 | Polifonía Editora | Lima, 2013 | Th e

W hite Rav en

s l2

014

2015, Brazilian rights sold to: SM Brazil | English rights for South Eastern Asia sold to: Epigram Books, Singapore I n t er na

tio

Fantastic Tales| AGE 4+

ugen

db i bl i o

t he

ILLUSTRATED BOOK Size: 26 x 20 cm - Hard cover

ILLUSTRATED BOOK Size: 32 x 22,5 cm - Hard cover

ILLUSTRATED BOOK Size: 19 x 26 cm | Hard cover

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

Kids & ILLUSTRATED BOOKS AUTHOR | TITLE | NOTES Cristina Soto &Abel Bentín | El bosque que silba (The forest that whistles)

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ISBN 9786124590153 | Polifonía Editora | Lima, 2013 | Folkloric Tales| AGE 6+

ILLUSTRATED BOOK Size: 28 x 21 cm - Hard cover

ILLUSTRATED BOOK Size: 20 x 25,5 cm - Hard cover + CD with the songs

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

Kids & ILLUSTRATED BOOKS AUTHOR | TITLE | NOTES Cocoretto | Vamos a…

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Polifonía Editora | Lima, Forthcoming | Play | AGE 0+

ILLUSTRATED BOOK- Size: 17,5 x 17,5 cm - Boardbook

ILLUSTRATED BOOK- Size: 17,5 x 17,5 cm - Boardbook

NEW

ILLUSTRATED BOOK- Size: 23 x 23 cm - Boardbook

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STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

Children BOOKS + APPS AUTHOR | TITLE | NOTES enchanted Kingdom of King

Margarete Kishi Diniz & Cecília Esteves | Nota a Nota, uma história para aprender a ler música e tocar flauta doce (Note by note, a story to read music and play the soprano flute)

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112

ILLUSTRATED BOOK Size: 21 x 27,5 cm - Paperback Lan Furquim & Flávio Capi | O Menino que perdia as palavras (The child who loose the words) ISBN 9788566587449 | Bamboo Editorial | São Paolo, 2015 Children's language | AGE 6+

ILLUSTRATED BOOK Size: 26 x 23 cm (B/W) - Paperback + APP Pedro Borges & Daniel Argento | Papagaio Pepetela (Pepetela the Parrot)

De te fabula

ISBN 9788566587777 | Bamboo Editorial | São Paolo, 2015 Emotions | Diversity| AGE 6+

ILLUSTRATED BOOK Size: 25 x 24 cm - Paperback

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Children BOOKS + APPS AUTHOR | TITLE | NOTES wanted to play? Who would

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Folkloric Tales | AGE 3+

ILLUSTRATED BOOK Size: 22 x 25 cm - Paperback + APP

invite? What games would

Lô Carvalho & Susana Rodrigues | Zeus, brinca comigo? (Zeus, will you play with me?) | Bamboo Editorial | São Paolo, Forthcoming 2015 Myths | AGE 3+

4 ILLUSTRATED BOOKS Size: 25 x 21 cm - Paperback + APP

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Children BOOKS + APPS AUTHOR | TITLE | NOTES Lô Carvalho & Daniela Fujiwara | 100 Primeiras Palavras Alimentos (100 first words - Food) | 100 Primeiras Palavras - Animais (100 first words - Animals)

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ISBN: 9788566587432 | ISBN: 9788566587227 | Bamboo Editorial | São Paolo, 2014 First Words| AGE 0+

ILLUSTRATED BOOK Size: 21 x 22 cm - Hard cover + APP

out of your back? rough tail... What

Saulo Ribas & Xavier Bartaburu & Fernanda Ribeiro | Cléo e o Mapinguari (Cleo and the Mapinguari) ISBN: 9788566587630 | Bamboo Editorial | São Paolo, 2013 Diversity | Folkloric Tales AGE 6+

ILLUSTRATED BOOK Size: 23 x 23 cm - Paperback

Saulo Ribas & Xavier Bartaburu & Fernanda Ribeiro | Cléo e as Sereias (Cleo and the Mermaids) ISBN 9788555130007 | Bamboo Editorial | São Paolo, 2015 Emotions | Folkloric Tales AGE 6+

ILLUSTRATED BOOK Size: 30 x 27,5 cm - Paperback

De te fabula

~o rica r d oGRIMORIO e s t e va STUDIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

YOUNG ADULTS AUTHOR | TITLE | NOTES RICARDO ESTEVÃO | Bob Kurt + APP with soundtracks

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192

144

~ ricardo estevao

BOB KURT

ISBN: 9788566587616 | Bamboo Editorial | São Paolo, 2014 YOUNG ADULTS | FICTION

CLARA MELLO | A Casa de Isabel (At Isabel’s) ISBN: 9788566587623 | Bamboo Editorial | São Paolo, 2015 YOUNG ADULTS | FICTION

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Children BOOKS AUTHOR | TITLE | NOTES NEW

Janna Carioli & Sonia Possentini | L’estate delle Ciacale (The Summer Of The Cicadas) | ISBN: 9788869420313 | Bacchilega Junior | Imola, 2016

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Family | AGE 0-6

ILLUSTRATED BOOK Size: 21 x 28 cm - Hard cover Elisa Mazzoli & Sonia Possentini | Noi (Us) ISBN: 97888896328798 | Bacchilega Junior | Imola, 2013

Diversity | AGE 5+

“Noi” was selected by IBBY outstanding books for young people with disabilities 2015 and won the Giacomo Giulitto prize for children literature. ILLUSTRATED BOOK Size: 24 x 17 cm - Hard cover Gianna Braghin & Vessela Nikolova | La mia famiglia (My family) | ISBN: 9788869420061 | Bacchilega Junior | Imola, 2015 Family | AGE 0-6

ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Hard cover

ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Hard cover

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ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Hard cover

STUDIO GRIMORIO RIGHTS LIST | 2015 - 16

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Children BOOKS + APPS AUTHOR | TITLE | NOTES NEW

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ILLUSTRATED BOOK Size: 16 x 16 cm - Paperback NEW

ILLUSTRATED BOOK Size: 16 x 16 cm - Paperback Alice Brière-Haquet &Nicolas Gouny | La Gabbia (The Cage) ISBN: 9788896328781 | Bacchilega Junior | Imola, 2014 Freedom | AGE 0-5

ILLUSTRATED BOOK Size: 16 x 16 cm - Paperback NEW

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ILLUSTRATED BOOK Size: 16 x 16 cm - Paperback

STUDIO GRIMORIO RIGHTS LIST | 2015 - 16

(+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

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Play | AGE 0-5

ILLUSTRATED BOOK Size: 16 x 16 cm - Paperback

NEW

ILLUSTRATED BOOK Size: 16 x 16 cm - Paperback Elisa Mazzoli &Silvia Bonanno | Morbido Mare (Soft Sea) ISBN: 9788896328699 | Bacchilega Junior | Imola, 2013 Creativity | AGE 0+

ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Paperback Elisa Mazzoli &Silvia Bonanno | Morbido Natale (Soft X-Mas) ISBN: 978886942012 | Bacchilega Junior | Imola, 2015 Creativity | AGE 0+

ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Paperback Maria Beatrice Masella&Nicolas Gouny | Nannalibro Libronanna (Lullaby Lullabook) ISBN: 978896328705 | Bacchilega Junior | Imola, 2013 Lullabies | AGE 0+

ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Paperback

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ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Paperback + CD

STUDIO GRIMORIO RIGHTS LIST | 2015 - 16

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Children BOOKS + APPS

AUTHOR | TITLE | NOTES NEW

Antonio Ferrara | Il Fiume è un Campo di Pallone (The River is a Soccer Field) | ISBN: 978886942 | Bacchilega Junior | Imola, 2016

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Growing Up | Diversity | AGE 8-11

ILLUSTRATED BOOK Size: 20,5 x 20,5 cm - Paperback

STUDIO GRIMORIO

RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

SPOON FACTORY â&#x20AC;Š

AUTHOR | TITLE | NOTES

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Brooklyn Troll

Out of the Blue

Andrea Strarosti & Salvatore Rotella | Who wants my Broccoli? Food| AGE 5 - 8 first reading

ILLUSTRATED BOOK

NEW

Andrea Strarosti & Salvatore Rotella | New Technologies| AGE 5 - 8 first reading

ILLUSTRATED BOOK

Andrea Strarosti & Salvatore Rotella |

Animals | Friendship AGE 5 - 8 first reading

ILLUSTRATED BOOK

Andrea Strarosti & Salvatore Rotella |

Whitto & Blakko

Fight and make peace | Friendship AGE 0 - 4

ILLUSTRATED BOOK

Andrea Strarosti & Salvatore Rotella | Colors | AGE 0 - 4

ILLUSTRATED BOOK

Rainbow Bros

STUDIO GRIMORIO RIGHTS LIST | 2015 - 16 (+39) 329 22 67 452 (+39) 051 716 20 20 64 Libia Rd. | 40138 | Bologna | Italy info@grimorio.it marian@grimorio.it www.grimorio.it

SPOON FACTORY â&#x20AC;Š

A STRUCTION UNDER CO

AUTHOR | TITLE | NOTES

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Out of the blue

Anselmo Vulpin: Numbers fly

Andrea Strarosti & Salvatore Rotella | Who grows a Brogon? Food| AGE 5 - 8 first reading

ILLUSTRATED BOOK Size: 15 x 21 cm - Paperback

Andrea Strarosti & Salvatore Rotella |

Who has seen my Hens?

Food| AGE 5 - 8 first reading

ILLUSTRATED BOOK Size: 15 x 21 cm - Paperback

Andrea Strarosti & Salvatore Rotella | Fantastica tales| AGE 5 - 8 first reading

ILLUSTRATED BOOK

Andrea Strarosti & Salvatore Rotella |

off!

Animal tales| AGE 0 - 4

ILLUSTRATED BOOK

FICTION

AUTHOR | TITLE | NOTES

ARO SÁINZ DE LA MAZA | EL ASESINO DE LA PEDRERA (The killer of the quarry) The Barcelona Murders Series.

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570

352

416

224

ISBN 9788490062555 | RBA LIBROS, Barcelona | Rights sold in France | Le Bourreau de Gaudí, Actes Sud, 2014 language: Spanish GENRE Crime Novel | Thriller NEW

ARO SÁINZ DE LA MAZA | EL ANGULO MUERTO (Blind Corner) The Barcelona Murders Series. ISBN 9788490565438 | RBA LIBROS, Barcelona | Rights sold in France | Le Bourreau de Gaudí, Actes Sud, 2016 language: Spanish GENRE Crime Novel | Thriller Shehan Karunatilaka | CHINAMAN ISBN 9780224091459 | Cape / Random House, London | 1st English edition 2011, 2nd English edition 2012 | Commonwealth Book Prize, DSC Prize for South Asian Literature, Gratiaen Prize. language: English GENRE Literary Fiction Ragna SigurDardÓttir | HIÐ FULLKOMNA LANDSLAG (The perfect landscape) ISBN 9789979330912 | Mál og menning, 2009 GENRE Noir

FICTION AUTHOR | TITLE | NOTES

Audur JonsdÓttir Literary and noir fiction from Iceland ÓSJÁLFRÁTT (Secretaries to the Spirits) 381 pp. ISBN 9789979333289| Mál og menning, nov. 2012 The Women’s Literary Award 2012 DV Newspaper’s Cultural Award (Nomination) 2012 Icelandic Literature Prize (Nomination) 2012 Translations: Germany: Random House, - Denmark: Tiderne Skifter GENRE Literary fiction VETRASÓL (Wintersun) 256 pp ISBN 9789979330097 | Mál og menning, 2008 Translations: Germany: Random House - Holland: Querido Icelandic film director Silja Hauksdottir has acquired the film rights and cowritten a screenplay with the author. TRYGGOARPANTUR (Deposit) Sex and the City meets George Orwell’s Animal Farm! 335 pp ISBN 9979328436 | Mál og menning, 2007 Nominated for the Icelandic Literary Award. Chosen as one of the three best books of the year by the Icelandic Bookseller's Association. Deposit sold over 7000 copies in six weeks in Iceland. The film rights have been acquired by the Litla gula hænan production company. Translations: Denmark: Tiderne skifter) - Sweden: Kabusa Böcker in October 2009. GENRE Literary fiction FÓLKIO Í KJALLARANUM (People in the basement) 292 pp. ISBN 9789979325710 | Mál og menning, 2004 The Icelandic Literary Award in 2004. Nominated for the Nordic Council Literature Prize in 2005. Chosen as one of the best three books of the year by the Icelandic Bookseller's Association. Especially recommended as one of the hundred books to read on a Danish librarians site and was commended by Fyens Stiftstidende in its annual review of the 2006 book year. A play based on the play was staged at Reykjavik’s City Theatre in 2010. Film rights are currently being contented by two film production companies. Published in Denmark (Tiderne skifter) and Sweden (Kabusa Böcker). GENRE Literary fiction | Noir

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Leandro Ávalos Blacha | Malicia (Malice) Forthcoming Entropía | Argentina | 2016

Malicia (Malice) is a new weird crime novel with a scent of the traditional Blacha’s ironic horror. It all starts with a newlywed couple and a friend of them who go on honeymoon to Villa Carlos Paz, a pleasant vacation place in the Argentinean sierra, a town famous for its variety shows. Their arrival coincides with the beginning of a celebrity murder series. The detective in charge of the case is Di Luca, a cop on the edge Leandro Ávalos Blacha was born in of retirement, who has not only to solve the case Quilmes, Argentina, in 1980. but to manage the press too. The protagonist, As journalist he works and lives in Juan Carlos, has met his new wife, Perla, in the Buenos Aires. church attended by his mother. In Villa Carlos Paz the most successful variety He won the award Nueva Narrativa show is the Wilma Menta’s one, a parody of the Sudaca Border 2005 with eternal struggle between Batman and Joker in “Serialismo” (Eloísa Cartonera) and in which, every night, a spectator is chosen to take 2007 the award Indio Rico with “Berazachussetts”, published in part in the show. Perla is one of the lucky ones. France first by Asphalte and them by During the show a teenager and a middle age Folio, (Gallimard). His short novel psychic go to the bathroom and find there the “Medianera” (Eduvin), was also body of a showgirl. The corpse speaks with translated in French by Asphalte. them, telling how the killing was. In 2014, he was a guest of the Salon Both of them are found after the show in a du livre de Paris and in the 14th edition of the festival Imaginales. catatonic state. The press always wants to interview them on what happened. The teenager and the psychic are initially scared, but finally agree to talk with the journalists. Their stories are different and the two start to argue. In the meantime, Perla shows a very good attitude as an actress and risks to be killed too. The cop has no clue on what is going on and while he tries to protect the involved people the teen girl runs away from home. In the meantime, after Perla risks her life, Juan Carlos’ mother, along with a group of nuns, leaves for Villa Carlos Paz and the teenager has turned into a poltergeist. In the thick of it all a special agent reveals to Juan Carlos, his wife and his mother, the presence of alien life on earth, while the middle age psychic is worried about the teenager after she has treated her so bad and tries to help her parents in finding her. The newlyweds, the friend who travelled with them, Juan Carlos mothers and the nuns are all gathered for the “grand final” by Malice, a retired star, who organizes high-end sex parties…

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Leandro Ávalos Blacha | Una casa de pie (A standing house) Unrelased

Una casa de pie (A standing house) tells the story of a haunted house. The house was the scene of a fire that hardly affected the former inhabitants, and revealed the clandestine spinning mill in the basement, where all the Bolivian immigrant workers died. The house is bought and reconstructed by the new Leandro Ávalos Blacha was born in rich owners who turn it into a three floor luxury villa Quilmes, Argentina, in 1980. with cellar, attic and a huge park. In the basement, the son of the new owners meets the ghost of Mari Luz, a As journalist he works and lives in little girl who died in the fire. The ghost of the dead Buenos Aires. little seamstress appears to be almost the same age of the protagonist and only he could see her. Soon she He won the award Nueva Narrativa becomes his only companion, along with his mate Sudaca Border 2005 with “Serialismo” (Eloísa Cartonera) and in Ramiro, another kid who’s very intrigued by the 2007 the award Indio Rico with House’s story. “Berazachussetts”, published in The parents of the protagonist are angry with him France first by Asphalte and them by because they think that the stories about the ghost girl Folio, (Gallimard). His short novel are only fantasies of a child about an imaginary friend. “Medianera” (Eduvin), was also Mari Luz involves soon the protagonist in her jokes as translated in French by Asphalte. “partner in crime” or as the target of them. In 2014, he was a guest of the Salon She tells the protagonist of her sad story but du livre de Paris and in the 14th something seems missing. The family who used to live edition of the festival Imaginales. in the house before the new one ruled the spinning mill with iron fist, but the ghost girl seems particularly obsessed by the fate of the former owner’s son, Tomás, who was the same age of the protagonist when, during the fire, shot some women who were about to escape from the basement. Mari Luz doesn’t blame him and mysteriously justifies him. The ghost girl makes the protagonist feel what painfully happened to her. Once she makes him live the fire experience and the young boy attempts to stop Tomas from shooting, but Mari Luz hurts him to avoid it. Their relationship swings between friendship and distrust and soon the protagonist won't’ to be haunted by her anymore and begins to think how he could help her finding peace, so he asks Mari Luz if it’s possible for her to leave the house and how. She tells him she can’t. The only way is to find her someone who could be a different companion: someone in the house has to die. Mari Luz tells him she needs a young friend as another kid. The protagonist refuses the idea of killing his friend Ramiro and begins to think he has to find Tomás… The novel lies at the crossroads between haunted houses and ghost stories with a slasher horror attitude as well as a social denunciation story.

Press Review h+p://www.dailymo6on.com/video/x1erly1_leandro-avalos-blacha-medianera_crea6on h+p://www.actusf.com/spip/Imaginales-2014-Entre6en-avec,18558.html h+p://www.vosgestelevision.tv/culture/dlv/Des_livres_et_vous_du_23_mai-NkzzJzv7W7

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Esther Cross | Los que volvieron - Those who came back Forthcoming Planeta (Tusquet or Emecé), Argentina. Three brothers wander in the countryside. People consider them inoffensive for they are kids and let them in everywhere. They see everything is going on in the manor and turn themselves into witnesses becoming involved in what’s happening. They discover by themselves, and by what they are listening to in the kitchen and in the storage room, the secrets of their family. Unlike other boys of their age, who during the summer vacations go with their family, they spend almost all day away from the eyes of their parents, because the countryside is the world in which children and parents live separated. They have spent all of their holidays in this peculiar place of vacation. It is not a bucolic retirement nor a chichi parvenu’s ranch. The countryside they are exploring is a sixties Argentinean one in which live many people, almost a community with its butcher shop, blacksmith shop, little school, country houses, etc. and animals. The violence of nature gets along with the violence of history of the area which was theatre of the tragic Conquest - or Massacre - of the Desert. There is a threat in the air. It lingers in the roads patrolled by the police traffic corps. In the dried out lagoons there are arrowheads of the natives who were slaughtered by the soldiers less than a century ago, the kids climb a cliff on which there was a pillbox… The characters of a story appear in another one, from another perspective. The three brothers stories are meant to be episodes of a series which explores this mysterious and little known world.

Esther Cross was born in Buenos Aires in 1961. She studied Literature and received his BA in Psychology. She is a writer and translator. She published along with Felix della Paolera, Bioy Casares at the time of writing (Tusquets, Spain, 1988) and Jorge Luis Borges, about writing (Fuentetaja Editions, Spain, 2007), books of interviews with authors. He published the Crónica de alados y aprendices (Emecé, 1992), La inundación (Emecé, 1993), El banquete de la araña (Tusquets, 1999), Radiana (Emecé, 2007), La señorita Porcel (Siglo XXI, México, 2009) and La mujer que escribió Frankenstein (Emecé, 2013) recognized by critics, readers and booksellers of her country, who selected it as one of the Ten Books of the year at the International Book Fair that year. Her short stories were published in two books, La divina proporción (Emecé,1994) and Kavanagh (Tusquets, 2004), but they also have been published in various anthologies in Argentina and abroad, including Little equeñas Resistencias y Cuentos de amor, -also prefaced by her for the publishing house Páginas de Espuma (Spain); La selección argentina (Tusquets, Argentina) and Cuentos eróticos de San Valentín by Tusquets Spain; and many others.

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Those who came back by Esther Cross Translation by Pablo Toledo Four left and three came back. Then the house, and everything around it, came to life. My father and the boy’s father, the butler, the foreman, the journeymen, even a hobo who had arrived the day before crossed

the

gate

that

led

onto

the

woodland with bright eyes and lowered heads. Latour, the boy’s father, seemed to be in less of a hurry. As if my father was sure

that

something

very

bad

had

happened and the boy’s father was not. Or as if my father thought they were still in time and the boy’s father knew instead that it was too late. My brothers and Latour’s older brother had run their way back. They walked into the house together, as one, and they jammed at the door. Then my mother

Some of her short stories were published also in abroad magazines and newspapers as ABC Spain, Catch&Release and the Inventory magazine (Princeton University). She translated Once tipos de soledad (Emecé, 2002) by Richard Yates, and La misma sangre y otros cuentos y Ángeles y hombres (Editorial La Compañía) by William Goyen and his complete short stories (Seix Barral, España, 2012). She edited and wrote the foreword, along with Ángela Pradelli, La Biblia según veinticinco escritores argentinos (Emecé, 2009), in which 25 Argentenian writers rewrote stories form the Old Testament. She was awarded with many prizes as the Firs Premio de la Revista First; the Premio de Cuento de la Revista Plural, de México; the Premio de Cuento Breve de la Revista Puro Cuento; the First Premio Fortabat de novela, the First Premio Regional de Novela, the Thrid Premio Nacional de Novela 2001, the Third Premio Municipal de Libro de Cuentos, the First Premio Internacional de Narrativa 2008 de la Editorial Siglo XXI de México for her novel La señorita Porcel, among others and the grants Fulbright and Civitella Ranieri. She collaborates with several medias as Radar, the Página12’s cultural review and the LaMujerdemiVida magazine.

asked about the boy: Where’s Martín? All three of them looked down. My father shook my elder brother by the shoulders. My youngest brother stepped aside, with his hands in his pockets. Martín Latour’s brother closed his mouth as if his life depended on it. But he could not hold back a tear. My father whispered something to my mother; then he knelt by the older of the Latours and put his hands on the boy’s shoulder. He talked to him, trying to get the boy to look in his eyes. My mother hurried to the phone and called the father of the Latour brothers. When Latour arrived, my father was almost done with the butler’s instructions. The Latour brothers and my brothers were not very close. But they still played together from time to time. The Latours were our neighbors, and the families kept running into one another –on the road, in town, at the La Rodada restaurant on Sunday nights– until one

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day they started meeting more often. That’s why my parents took us to the Latour’s to play some afternoons, and they brought their children over for a few hours. Sometimes, Latour would swing by – that’s the way he put it, swing by– to say hello. He came in his pickup truck, after his ride around the estate, with his two children and the dog in the back. He had a gentleman’s face and hardened hands. That was the combination. The Latour boys and my brothers looked alike, like the sons of mothers who buy the same kind of clothes. My mother used to dress my brothers up in clothes that copied those of English boys. The mother of the Latours went into town and bought clothes that copied the clothes my mother bought for my brothers – the Latours hardly ever travelled to Buenos Aires. The boys got along rather well. They had a similar gait, with moves that walking around the countryside –jumping across fences, stepping hard and cautiously, stopping to listen– had stamped on their heads. But there were differences. The biggest one was that the Latours lived on the countryside and my brothers didn’t. My brothers knew about jets, building blocks and collectible picture cards. But whenever they wanted to find out what armadillo meat tasted like, why owls sometime appeared hanging from the mill’s weather vane, where trash got burnt, what the sex life of sheep was like and things like that they consulted the Latour living encyclopedia. The other difference was that they did not have a sister. I had no double in that mirror. There was only time between the older of the Latours and Martín. That afternoon, when they found the body of Martín Latour in the woodland, all resemblances were lost. They found him lying under a tree. He was so young he couldn’t even read. Blood was trickling down his nose. He was face up. His white skin was soiled with dirt. His head was tilted to one side. He seemed asleep. But there was something strange. As if he was sleeping in a sleep of subtle alteration. An impossible sleep, from another planet. Perhaps from a planet where nobody was ever awake. He had snapped his neck. And his mouth was open, as if he had not finished what he was about to say, or as if surprise had been the last word he spoke in his life. I stayed at the house with my mother, my brothers and Martín’s oldest brother. Since we were all quiet, every movement seemed slower and the noises from the kitchen were too clear. Nobody explained anything to me but I understood all too well what was going on (tragic events are clear and exact). The three boys behaved as if they didn’t know each other, each was locked in a world of their own. But when somebody talked to any of them –the maid asked them whether they wanted something to drink, my mother asked them where they had left the horses– it was as if the three of them were but one person. Six eyes and one mouth, shut. That afternoon, grown-ups seemed bigger and their voices boomed with excessive might.

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The voices of the men carried from the woodland to the house. We could hear the name of the boy. Martin. They were crying out his name, surely funneling their hands. The louder they said it, the further Martín seemed to get from us. Then the worst happened. The mother of the boy had not obeyed her husband. Rather than staying at home, waiting for news as it got darker and the rooms grew larger like shadows, she had come. We heard the sound of wheels on the path, preceded by a dog. Mrs. Latour got out of a jeep. The foreman of her ranch had driven her over. My mother squeezed her hands and walked out to receive her. I saw them through the window. The woman looked dead straight at her. My mother ran her hands through Mrs. Latour’s shoulder and they walked into the house. The woman’s oldest son stared at her. Worried people who don’t talk are a bit scary. This woman was extremely upset and she didn’t open her mouth. She sat on the armchair, with her eyes open. I think she never blinked. The horse showed up in the sheds, foaming at the mouth and with bulging eyes, before the men returned from the woodland with the body of the boy. It was a rather fat horse. The journeymen called him Coffee, but we did not like that name. We switched names each summer, depending on the books we read or the films or series we watched. He showed up running through the sheds, with his tack loose and a frenzied face. Campello, the horsebreaker, who had stayed just in case, grabbed him by the reins. Then he unsaddled him, hosed him down and let him go. Campello was sure he had been whipped or scared off. He was so tame it was impossible to imagine him running away. Kids’ stuff, said Campello some days later. But on that day I discovered that even the calmest creature can go crazy. It may run to make an escape without realizing it’s leaving a victim behind. That was what had happened. I couldn’t make sense of it any other way. That horse didn’t have a mean streak. And he was quite a sight. He tossed his head. He kicked at the floor. He pulled his head back as if someone was trying to kill him. But the water and finding himself in a familiar place calmed him down. Or perhaps it was not that. Perhaps horses have no memory. What happened a while ago is one thing and what is happening now is something else. When Campello let him go, the horse rolled in the dirt, as he always does, to dry himself and then ran off. A short dash and then a halt. Again and again. Nothing out of the ordinary. That was his afternoon routine, when he was let loose. But that was not a regular afternoon. The kid who had ridden him was dead, lying in the woodland. Mute forever. Like the horse, my brothers and his brother. Mute. The reconstruction of that near, irreparable past which we didn’t see: the horse bolted, dashed even though Martín Latour was pulling back on the reins, then stopped suddenly to dodge something and Martín Latour was hurled over the horse’s neck, slammed the

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log, lost his life. That was it. He had lost his life. But we still didn’t know why the horse had bolted. On one hand we had the body of the youngest of the Latours, and on the other hand we had the graveyard silence of his brother and my brothers. First we heard the dogs. When Latour walked into the house, his wife looked at him. It was as if they had been alone. Latour shook his head, staring at the floor. His wife held her head in her hands. My father came in through the kitchen door. He laid the boy’s body at the couch on the hall by the entrance. He covered it with a jacket. It was no longer necessary, but they still called the doctor. That afternoon, my mother had told me to let the boys go play alone. I had to understand. Sometimes the boys wanted to play on their own. I took offense. At the countryside it didn’t matter that I was a girl, I one more kid. I also realized that they were right. So I said nothing, although I didn’t agree with them either. We had tea together. Then I saw them move, in haste, around the house, like boys do when they are about to go somewhere together. They were organizing themselves, as if they were a body. When they closed the mosquito net, it was a little less hot already. Mrs. Latour went to the hall by the entrance and then we heard the scream. It was the first. And then you lost count. It felt like a single scream, which stopped when she had to breathe in to carry on. She screamed many times. She didn’t say anything. They were empty screams. My brothers stared at each other and the oldest of the Latour boys closed his eyes. The screams bounced against the walls and so did Mrs. Latour, or at least it felt as if she was doing that down at the hall. We heard thuds, the voices of my father and Mr. Latour calling her by her name. and those screams which were in another dimension, because at that moment Mrs. Latour was unreachable. She wandered around the hall – maybe it wasn’t that she flung herself against the walls, but that she didn’t see them-, gravitating around the lifeless body of her youngest son. The doctor arrived and even though he knew the boy had died he ran into the house. There was nothing he could do for the boy, but he cared for the mother. We saw them walking her to the jeep. Her husband was holding her by the waist. He set her on the front seat and walked inside again, looking for his eldest son. He was going to take care of the paperwork with my father, and the Latour boy had to return home with his mother. He told him as if it were an order, but we also understood that if he went he ould be doing his father a favor, andbesides he was going to take care of his mother for the first time in his life. The boy was wearing a blue T-shirt. His face was soiled with dirt, with the dried tracks of his tears. His father grabbed him by the shoulders to take him outside. My brother and the boy looked at each other. Had they meant to play a joke on Martín and therefore had scared his horse? Had the horse freaked out at something they did

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unintentionally? Maybe they had stepped on a dried branch and that had scared the animal. Or had they fought and hit the horse with their riding whip? Or could it be that Martín had galloped too hard to get away from them, because they were chasing him during play? And what if the boy had run away like that because he had done something to them? On that day, the resemblance between my brothers and the Latour boys broke like a spell but something stronger than the spell bound them, even though they never played together again. I was fortunate to realize it was best not to ask my brothers any questions. I would have hit the silence of truth. This story published in an Argentinean writers anthology titled Stories to the South of the World by the National Reading Program of the Ministry of Education of Argentina for Frankfurt Book Fair 2010 and has been reviewed by the author for this new edition. This short story was also published in: DIE NACHT DES KOMETEN Argentinische Autorinnen der Gegenwart Marion Dick (Hrsg) Argentinien in der edition 8 192 pág. and TRÁNSITOS Y APROPIACIONES Antología de narrativa argentina contemporánea Selección y prólogo de Claudia Piñeiro Textos de Difusión Cultural UNAM Serie Antologías 2014, México 227 pág.

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Anna Fado | La ballata di Rossana

194.395 battute, 51 capitoli.

Cosa succede quando scompare qualcuno di caro? La cronaca non lo dice, semmai offre qualche spunto di riflessione sui familiari più stretti, spesso considerati non sempre a ragione, i soli e diretti interessati. Difficilmente decide di occuparsi delle ripercussioni che eventi di questa portata hanno sulle vite dei singoli. Questo è l’argomento attorno al quale si sviluppa il romanzo. Due episodi segnano in maniera indelebile la vita della protagonista, quando è ancora un’adolescente: la scoperta di non essere amata dalla madre e la dolorosa scomparsa di un’amica durante una vacanza estiva. Per superare questi traumi Francesca imparerà a guardarsi dentro con l’aiuto di una psicoterapeuta che l’aiuterà, anni dopo, a ripercorrere un viaggio a ritroso nella vacanza di cui porta ancora le cicatrici e, dove oltre all’amica, ha perso irrimediabilmente anche l’innocenza. A farle da contraltare Rossana, troppo bella per essere vera, che scompare portandosi dietro alcuni segreti e la sua aura di fascino. Francesca condurrà una ricerca apparentemente impossibile, insieme a Giacomo, l’amico e amante e a Letizia, l’avvocato che sa cosa significhi stare dalla parte delle vittime. I tre scopriranno che fine ha fatto Rossana quando avranno portato a termine il loro percorso di crescita. Sotto traccia, nel racconto si fa strada il tema di una violenza con le caratteristiche dell’incesto, che priva, chi lo subisce, della possibilità di difendersi e

Anna Cariani è nata a Bologna nel 1959 e attualmente vive a Pisa. Infermiera psichiatrica prima e giornalista pubblicista poi, dal 2005 al 2013 ha collaborato ed è stata direttrice responsabile del periodico d’informazione “Il giornale della Casa delle Donne/ Casa delle donne news", foglio d’informazione del centro antiviolenza di Bologna. Il primo libro pubblicato nel 1995, Vola colomba (La sfera celeste edizioni) è stato finalista al Premio Riccione di scrittura femminile, ed è liberamente ispirato a una protagonista della Resistenza bolognese. Toscana city, del 1997 (Ibiskos Editrice) è una raccolta di racconti ambientati nella Toscana dei giorni nostri e in quelli dell’ultima guerra, tra le province di Pistoia e Lucca. La poesia Banditi fa parte della raccolta “Voci di poesia: rassegna di poeti contemporanei a Bologna” a.c. di Gilberto Centi, Pendragon, 1997. Nel 2000 Storie-Oppure edizioni pubblica In un attimo solo, un libro di racconti liberamente ispirato al periodo della Resistenza contro il nazifascismo nell’Appennino Tosco-Emiliano. Il viaggio di Enea è il racconto finalista ottava edizione Premio Energheia 2002. http:// www.energheia.org/il-viaggio-di-enea_annacariani.html Nel 2015, il suo racconto Davvero incinta è stato pubblicato nell’antologia di Carmignani Editrice promotrice del concorso “I diritti e le diritte: dalle staffette a noi”.

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persino di chiedere aiuto. La sproporzione dei rapporti di forza tra un adulto e una bambina di nove anni è schiacciante ma, crescendo, l’adolescente Rossana riuscirà a sottrarsi agli abusi con una rocambolesca e avventata fuga, di cui gli altri sapranno al momento del rincontro. La storia è ambientata in Italia e in Spagna, in particolare tra Modena, Ibiza, il Salento e l’Appennino Tosco-Emiliano e contiene brani di canzoni e testi poetici che vanno dalla musica spagnola e italiana, alla poesia cubana, con un pizzico di saudade. Non a caso è una ballata…

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Elsa Osorio | Great literature from Argentina

Elsa Osorio was born in Buenos Aires in 1952. She studied literature at the university and since then she worked as a writer, journalist and scriptwriter. In 1994 she left Argentina and resettled in Madrid, nowadays she’s living again in Argentina, where she is running creative writing workshops. From 2007 to 2010 she took part in different symposiums and fairs worldwide. In 2009 she was writer in residence at Literatur Raum project in Berlin. In 1982 she debuted with the volume of short stories Ritos privados, for which she was awarded with the most prestigious literature prize of the country. She published then Beatriz Guido (1991), a novel about the writer's life, and a collection of political and linguistic essays entitled Las malas lenguas. Her sixth novel, A veinte anos, Luz (1998), was acclaimed on the international scene and won the Amnesty International's literary prize, it was translated into more than fifteen languages, and published in twenty-three countries. The novel is still on the bookstores shelves as a long seller. A veinte anos, Luz deals with a dark chapter of the Argentinean history.

Most Important Recognitions and prizes 1983: Premio Nacional de Literatura Argentina, Argentina 1987: Premio al periodismo de humor, Argentina 1991: Premio al mejor guión de comedia, Argentina 2000: Runner at Prix Femina, France 2001: Amnesty International's literary prize. 2007: Pre.mio Biblioteche di Roma, Foreign Literature, Italy 2009: Premio Letterario Giuseppe Acerbi, fiction to understand and bring the peoples together, Italy

Another prevailing theme in Osorio's work is tango, which she focused on in the novel Cielo de tango which received the Biblioteche di Roma award for foreign literature in 2007. For this novel she received also the Italian Acerbi award in 2009 and is a long seller too. In 2009 she published then Callejón sin salida a collection of short stories. Her last novel is La Capitana (Captain Mika), 2012. Web site www.elsaosorio.com/ingles/ingles.html www.elsaosorio.com/blog Interview http://www.youtube.com/watch?v=UObZAUBESXg

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La Capitana - Mika

2011 – Spain: La Capitana (Siruela) 2012 – Latin America: Mika (Seix Barral) 2012 – Italy: La miliziana (Guanda) 2012 – Germany Die Capitana (Suhrkamp) 2012 – Netherlands: Mika (AmboAthos) 2012 – France: La capitana (Métailié)

On the one hand, the luminous figure of Micaela Etchebéhère, known as Mika, Jewish and Russian-born Argentinean with revolutionary passions. On the other hand, a writer as Elsa Osorio who chases for years, with awe and admiration, the adventurous existential and political trajectory of Mika, transforming it into a novel. This book is a dialogue at a distance, a tribute to an extraordinary woman, forgotten by official history, the only woman who during the Spanish Civil War led a militia against Franco. Weaving to the novel the testimonies of those who knew her personally, her letters and writings, Elsa Osorio tells the story of Mika since the college years, in Buenos Aires, and the encounter with Hipólito Etchebéhère, which will become her partner in life and struggle. The couple, facing the challenge of supporting the struggles of the working class, will move from Paris to a frozen Berlin since the advent of Nazism, and finally, in 1936, the Spanish Civil War. Not practical to military strategies, barely able to shoot, Mika unwittingly finds herself in the rifle, winning the mistrust of men and gaining the title of "captain", along with the estimate and the unconditional support of her troop, which she led in a daring escape out of the cathedral of Siguenza besieged until reunification with the rest of the army. www.facebook.com/pages/La-Capitana-Mika/325927680772600

www.youtube.com/watch?v=di0ANrzkocY

“More than a novel about commitment, Elsa Osorio primarily restitutes the fate of a passionate woman.” Lune et l’autre - Saint-Étienne - France

“Emotional and passionate, this book resurrects a superb indignada.” Claire Julliard – Le nouvel Observateur - France

“It is a breathtaking journey through time the one that Elsa Osorio has done following Mika. A story that enlights all. Mika, a woman as “lighthouse”. A valuable document, full of dates, names, notes figures.” Concita De Gregorio - la Repubblica - Italia

“Osorio does not keep herself within the lines to develop the vibrant tale of these events. What she really approaches is the complex history of the twentieth century’s European ideology, with its paradoxes, lies and cheating. To do this she makes use of clever space-times jumps and of an accomplished chorus of voices, figures who speak and display a huge recitative power.” Ernesto Calabuig - El Cultural - España

“A great novel, fascinating, emotional and clever, whose intense historical anchor, however, goes far beyond the war in Spain to embrace the will to help change the world.” Hugues Robert – Charybde - Francia

“History had forgotten the role of women in war, it had forgotten Mika too. Elsa Osorio writes to correct that mistake.” Melser - El tiempo - Colombia

“A beautiful history lesson, smart, lively and bright.” Dominique Baillon-Lalande - Encres Vagabondes France

“With La Capitana, the author reconstructs, using a novelistic technique, the life (ignored by more than one) of one of the most intriguing characters of the last century.” Wlodek Goldkorn - L’Espresso - Italia

“[...] The ethical and aesthetic aspiration in the Elsa Osorio’s fiction had been exemplified in her previous novels. Now she’s recovering an unknown figure in the history of the Spanish Civil War going much further: the Argentinean Mika Etchebehere Feldman, La Capitana.” Juan Carlos Rodríguez - El ojo de la liebre - España

“A great stylistic achievement.” Ralph H. Thaler - Süddeutsche Zeitung - Alemania “There are books that reading them is not enough, you have

to chew, taste the substance that spice their tales and enjoy all the flavors to realize the wonders they contain. So when I first read La Capitana by Elsa Osorio, I realized the greatness of a well told story” BiblogTecarios – Victor Villapalos - España

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“In spite of speaking about the lost of identity, the unhealed wound or of treason, Elsa Osorio does not sweep neither hope nor humanity, that sometimes appear where least expected. Memory does not impede tenderness.” GB. Genève Hebdo (Switzerland)

“Osorio captures the reader with a subjugating style (…). She has got a sharp sense for emblematic situations where the persistence of the political past is reflected on the present.”

Callejón con salida

2009 – Argentina: Callejón con salida (Planeta) 2009 – Spain: Callejón con salida (Siruela) 2009 – Italy: Sette notti d’insonnia (Guanda) 2010 – Germany: Sackgasse mit Ausgang. (Suhrkamp) 2010 – Netherlands: Uitweg. (Ambo) 2010 – France: Sept nuits d’insomnie (Métailié)

Elsa Osorio melts in this extraordinary book of short stories the two lines of her literature: the fantastic - allegorical with “We cannot merely define Osorio as a committed the realistic and memory retrieval. And she writer: she deeply penetrates and masters the art of does it with stories written in different moments. El hombre de telling stories.” Balmes, Joy or Su pequeño y sórdido reino were written during Marco Lodoli - La Reppublica - Italy the dark period of the dictatorship in Argentina, a time of fear, and censorship, when things could not call by their name. Other “Nobody narrates the clandestine life, fear, the stories, such as Siete noches de insomnio, Llanto or El feeling of being persecuted in one’s own home as despromovido were written twenty years later, when the real Elsa Osorio does (…). The feeling of hope, of a way out, despite the suffering, the pain and the loss thing recovered its identity and face... But all of them, although remains.” they are about hard to heal wounds, loss of identity, loneliness, Antonio Martínez Asensio - Antena 3 (Spain). betrayal and tell apparently hopeless stories, are full of hope. Hence the title of this book, Dead end (with an exit), is thus the triumph of literature in its noblest sense: thanks to it, the reality, even in its most sordid and disturbing message becomes a relief to all those who, for political or personal issues had to toggle themselves and had no salvation. Callejón con salida awarded the honorable mention at the Premio Roma, Foreign Literature, in 2010. Brigitte Preisler, Berliner Zeitung - Germany

Cielo de tango

Year 2000. At Le Latina, a milonga in Paris, Ana and Luis cross their paths by chance during a tango, they are descendants of two families whose fates are intertwined: Ana is French and dances tango with the same passion with which she rejects his father's country: Argentina. Luis is from Buenos Aires and is traveling through Paris, to leave behind an economic and creative crisis. Cielo de Tango reconstructs the history of Argentina in the last century through the saga of two Creole families, at the ends of the social scale. While Ana and Luis collaborate to make a movie about tango, it starts a love story full of struggles, joys and betrayals, and dangerous and sensual dances. Is Tango himself that speaks to the characters, facing and encouraging and challenging them, that gets excited and vibrates with them. Elsa Osorio has written an admirable and fascinating novel with multiple voices that traces the history of tango, but also the Argentina’s one: traditional

“To Elsa Osorio, at the beginning there was no light but tango (...) The author makes it possible for multiple narrative voices of the dead and the living to show the flow of life of men and women, two families and a divided society that gets reunited with a dance. Osorio says that her subject is the regaining of the collective memory. Nevertheless, at the same time, freedom of fiction is so important to her that she has created, with a special pleasure, an "ideal orchestra" with the great musicians of the past. Osorio's ideal orchestra plays such music that it's as if we have heaven on earth.” Florian Balke- FRANKFURTER ALLGEMEINE ZEITUNG - Germany

“Without any reservations, compromised and honest when it comes to human feelings, tango reaches in this novel the highest level of passion and destiny celebrating its capacity of seductively fusing immigrants and natives to different cultures and musical influences. Elsa Osorio enlightens trough tango and fiction the genesis of the complex identity of the Argentinean.” María José Eyras - CLARÍN CULTURAL Ñ - Argentina

“Tango, renovation and scandal. Tango, social revolt and economic expansion (...) Those skies (the one by Borges, by Cortázar) are in this one, amplified and magnificent, by Elsa Osorio.” Arturo García Ramos - ABC, DE LAS ARTES Y LAS LETRAS - Spain

“Telling Argentina's story through tango and making it a character is an ingenious idea. A risky bet that reaches a high level in Elsa Osorio's hand. By using tango as the thread that tells the saga of four generations, the author allows us to embark on a dance we wish will never end.” Pascale Frey - ELLE - France

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high society families, struggles of the working class, immigration and its contribution to the identity of country itself. Like the former works of Elsa Osorio, Cielo de Tango unfolds itself over various temporal planes and tells about two families of differing social backgrounds whose lives are intertwined through tango, beginning with the rise of Argentina in the late eighteenth century and leading up to the present day. The narrative technique of this novel, which also describes the history of tango, is adopted from the movements of the dance itself: it moves forwards, backwards and sideways, and then changes direction. A veinte años, Luz

Twenty-year-old Luz, an Argentinian, is on holiday in Madrid with her husband and new-born son. But secretly she has a mission - to find her real father. Carlos was a 'desaparecido' - one of the many political activists in Argentina who literally 'disappeared' during the country's brutal military dictatorship in the seventies - while her mother, a political prisoner, was killed trying to flee the country. As a baby, Luz was secretly adopted by a wealthy couple, unaware of her true origins. My Name is Light is a gripping, emotionally charged book, a powerful story about a young girl's quest to find her identity and to uncover the deadly secrets of one of Argentina's darkest periods.

“This novel should be read in order to learn more. To further understand the nature of the criminal actions that took place during the dictatorship in Argentina, but more importantly, it should be read for what it is: a novel of human and literary magnificence. An overwhelming story driven by a multiple narrative that maintains its vitality. A story of courage and emotion, a search for identity. A book truly worth reading.” Pascale Haubruge - LE SOIR - Belgium

“The best novel I have read in the last ten years. I was truly impressed and I have to admit, I wept. In it, we connect with our history.” Osvaldo Quiroga - EL REFUGIO DE LA CULTURA, CN. TV. - Argentina

“A novel that has opened up the huge highway of the literature of memories, which I believe will eventually take its place in our neighbourhoods, our book stores and our children´s libraries.” Osvaldo Bayer - MALASARTES - Argentina

“Luz is a novel even more compromising than any of Sartre´s novels. However, Osorio never incurs in an easy opinionated black versus white. She understands that in Argentina, lies and truth are very much connected. The book is moderately optimistic: as optimistic as it can get after the things that happened.” Peter Venmans - DE VOLKSKRANT - Holland

“The greatness of this book probably lies in the possibilities of action that the characters have been granted, to take part in history, not to become victims. Elsa Osorio´s writing is will power against tragedy, against the obscurity and silliness of misfortune. And this is why it is conventional narrative, but it is also against conventional narrative, thought, emotion and poetics. Containing a plot that is shocking and witty, this is not a novel to be read, it is to be devoured.” Chus Pato - A NOSSA TERRA - Galicia

“A courageous book, to read from beginning to end. In Ha vinte anos, Luz, Elsa Osorio grabs readers by the neck and tells them of a dramatic ordeal that people have begun to talk of only recently: young people in search of their own identity. Elsa Osorio proves to be excellent at suspense.” Sara Bello Luís - REVISTA VISAO - Portugal

Translations and international editions A veinte años, Luz: Argentina, 1999, 2006, 2014 Spain, 1998, 1999, 2002, 2008, Mexico, 1999, Italy, 2000, 2002, 2005, 2006, 2009, France, 2000, 2009, Germany, 2000, 2001, 2002, 2006, 2007, Netherlands, 2000, 2001, 2002, 2005, 2006, 2007, Portugal. 2000, Brazil, 2001, UK. 2003, 2004, USA, 2004, Sweden, 2001, 2003, Denmark, 2001, 2003, Finland, 2001, Greece, 2001, Norway, 2001, Japan, 2001, Israel. 2003, Poland, 2009, Indonesia, 2007, Taiwan (2012) Cielo de tango: Argentina, 2006, 2014 Spain, 2006, 2007, Netherlands, 2006, 2008, Italy, 2006, Germany, 2007, 2008, France, 2007, 2008, Portugal, 2007, Brazil, 2008, Poland (in progress)

“Seldom has a Latin American narrator succeeded in developing a novel in such a convincing way, at the same time turning fiction into an extraordinary documentary.” Hans-Jürgen Schmitt - SUEDDEUTSCHE ZEITUNG - Germany

Callejón con salida: Argentina, 2009, Spain, 2009, Italy, 2009, Germany, 2010, Netherlands, 2010, France, 2010. La Capitana: Spain, 2011, Latin America, 2012, Italy, 2012, Germany, 2012, Netherlands, 2012, France, 2012.

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Jógvan Isaksen | Crime fiction from Faroe Islands

Jógvan Isaksen was born in Tórshavn in 1950 and has a Master of Arts in Nordic literature. Since 1986, he has been employed at the Recognitions and prizes University of Copenhagen, while concurrently editing periodicals. Since 1978, he has been 1994 Faroese Literature Prize (Bókmentavirðisløn M.A. Jacobsens) for head of the publishing house Mentunargrunnur non-frction Studentafelagsins. Jógvan Isaksen has written more than 40 2006 Faroese Cultural Prize books, two-thirds of which are about Faroese (Heiðursgáva landsins, DKK 75.000). literature and art, and one third of which are crime novels. With the crime novel Blíð er 2011 Faroese Literature Prize summarnátt á Føroyalandi (Gentle is the Faroese summer’s night) from 1990, he (Bókmentavirðisløn M.A.Jacobsens) for found his way to a broader audience, and ever since, he has been the top selling his work at the Faroese publication author in the Faroe Islands. Especially the eight books about Hannis Martinsson, a house Mentunargrunnur reporter and consultant, have consolidated his reputation, and in 2012. Studentafelagsins by publishing With his eight book series about the journalist and consultant Hannis Faroese books Martinsson Jógvan Isaksen became the top selling author in the Faroe Islands. In 2012 he began a new series with police prosecutor William Hammer as the main character. The first volume is called Tann fimti maðurin (The Fifth Man), and the second volume, Prædikarin (The Preacher), is scheduled for publication in November 2013. A number of Jógvan Isaksen’s books have been translated into Danish, Icelandic and German. English version of Krossmessa was published at the beginning of February 2016. The story of Isaksen’s Adventus Domini was included by Andrea di Robilant in his best seller Irresistible North (Knopf) / Venetian Navigators (Faber) published in 2011

A CRIME NOVELS’ HISTORY Forthcoming October 2014 AT MYRÐA VIÐ SKRIVARABORÐIÐ

At myrða við skrivaraborðið (Murdering at the desk) Mentunargrunnur Studentafelagsins | 141 pp. | Isbn: 978-99918-75-16-3

JÓGVAN ISAKSEN

Murdering at the desk come after a lecture that the Nordic House in Tórshavn asked to the author, which will take place in conjunction with Bókadagar 2014. Murdering at the desk is an overview (with images and pictures) of the most important crime authors and novels. Jogvan Isaksen tells us about the world of crime fiction writers and their characters in more than 200 portraits from Sherlock Holmes and Agatha Christie to Raymond Chandler, from Patricia Highsmith to Michael Connelly, with a particular attention to the books with nordic countries setting and authors from those lands. CRIME NOVELS: the cold case of William Hammer and the Department of Lost Causes Tann fimti maðurin (The fifth man) 2012 - Mentunargrunnur Studentafelagsins 2014 - Danish translation by the author available, Den femte mand. The first volume was published in 2012 and was the overall bestseller in the Faroe Islands, the second is going to be published in November. The plan is to write a whole series about the Department of Lost Causes in the Faroe Islands. William Hammer is born in the Faroe Islands, at the age of 20 he joined the Danish army and became a green beret in a combat support regiment. After ten years of service in ex Yugoslavia, Iraq and Afghanistan he left the army, studied law and for some years he worked for the Danish intelligence service. After an unhappy incident he was sent back to his native

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Tórshavn, the capital of the Faroe Islands, as a police prosecutor. He’s not well-accepted in town and set his own small department in the old fortress by the sea. There he is joined by two likewise unpopular young police officers, a woman and a man who are both homosexuals and are considered kind of a black sheep by the colleagues. The relationship between them and Hammer is stormy a harsh, but they will begin to know each other and work together fine. The young police officer, Dejan Vuković, is by the way born in Serbia but she grow up in a Faroese village. William Hammer, Dejan Vuković and Gunnleyg Olsen (a master in martial arts) form a special department DLC – Department of Lost Causes. The name origins from that they are only given completely hopeless cold cases, which noone expects them to solve. Their first case involved a body found in the Seventies linked in some ways to WWII. JÓGVAN ISAKSEN

Prædikarin (The preacher man) 2013 - Mentunargrunnur Studentafelagsins. The second novel about the police prosecutor Willam Hammer is in the pipeline.

CRIME NOVELS: the Hannis Martinsson’s collection Blíð er summarnátt á Føroyalandi (Gentle is the Faroese summer’s night) 1990 - Mentunargrunnur Studentafelagsins 1991 – Danish: Blid er den færøske sommernat, Torgard 1994 – Icelandic Ljuf Er Sumarnott i Faereyjum, Uglan 2011 – Danish: Blid er den færøske sommernat, 2. edition, paperback. Torgard 1995 – German: Mild ist die färöische Sommernacht, Pettersson, Münster 2006 – German: Neuausgabe: Endstation Färöer, Grafrt 2013 – Egypt and arabic speaking countries (rights sold to Sphynx)

During a midsummer celebration in the Faroese mountains, the journalist Sonja Pætursdóttir falls from the edge of the plateau. An accident, according to the police report. A few days later her boyfriend Hugo breaks his neck falling down the basement stairs. Too many accidents for Copenhagen based reporter Hannis Martinsson, who scents a big story behind those deaths because Sonja was even seen several times on board a schooner from Paraguay, which was anchored for a few weeks in Tórshavn harbor and its crew behaving was very strange... Gráur oktober (Gray October)

1994 – Mentunargrunnur Studentafelagsins 1994 – Icelandic: Grár október. Uglan 1995 – Danish: Grå oktober, Torgard 2011 – Danish: Grå oktober, 2. udgave, paperback. Torgard 2007 – German: Option Färöer. Grafrt 2014 – Egypt and arabic speaking countries (rights sold to Sphynx)

Four murders in two weeks: isn’t it too much for a small group of islands such as the Faroe? It is exactly what the reporter Hannis Martinsson ask himself, so he began to find out what an anchorwoman, a young hobo, a payroll accountant and a christian newspaper columnist had in commons. Krossmessa (Red Mass)

2005 - Mentunargrunnur Studentafelagsins 2009 – Danish: Korsmesse, Torgard 2011 – Danish: Korsmesse, 2. udgave, paperback. Torgard 2016 - English, Walpurgis Tide, Norvik Press

After the traditional Grindadrap (whale hunting and slaughter) two young environmental activists were found dead between the whale corpses in Tórshavn. The news travels fast around the world and many animal welfare organizations are ready to rise up against the traditional Faroese whaling.

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Former journalist and current "consultant" Hannis Martinsson receives a visit by Mark Robbins, a member of the english environmental organization Guardians of the Sea. The man asks Martinsson to help him fo find out who killed the two environmentalists and why. Martinsson is not thrilled to be working for a foreign organization but he is a fierce opponent of the Grindadrap, so he accepts to help Mr. Robbins and the Guardians of the Sea... Adventus Domini (Adventus Domini) 2006 - Mentunargrunnur Studentafelagsins

A frrst prologue tells of a crusader who survived the Muslims occupation of Malta, a second one tells the wreckage of a British transport ship, which sank in 1941 in the Faroe Islands. Shortly before Christmas Hannis Martinsson is contacted by a spokeperson of the Grand Master of the Order of Malta who offers him a job. Shortly after, the man will be found beheaded in a hotel room in Tórshavn. From that moment on a series of violent events that find their origin in the story of the crusader and in the sunken WWII ship kickstart the plot, a plot in wich also the Kirkjubøur Cathedral and the medieval plague play primary roles. Metusalem (Matusalem)

2008 - Mentunargrunnur Studentafelagsins 2011 – Danish: Metusalem, Torgard

During the cleaning of the Tórshavn lake two town employees find a skeleton, which is believed to be a thousand years old. It is immediately dubbed Methuselah by the people which began soon to guess about which ancient Viking king it could be. But not all are certain that the skeleton comes from the Viking Age. Our protagonist, journalist and consultant Hannis Martinsson receives a call from a retired fisherman who claims that it could the skeleton of his brother, who disappeared without a trace in 1961. Hannis Martinsson will be soon involved in a story that is connected to the NATO military structure at the north of Tórshavn and to the operations of a Scottish spy trawler that sailed the Faroese waters in the Fifties. Norðlýsi (Northern light)

2009 - Mentunargrunnur Studentafelagsins 2013 - Danish: Nordlys, Torgard.

The newly elected prime minister of the Faroe Islands, a woman, is shot while lightning up the Christmas tree in Vaglið. A short time later two people burn alive on a ship in Vestaru Vág. Hannis Martinsson is working again for the magazine Blað and tries to figure out if there’s a connection between the two facts and if homophobia plays a role in the whole story. Norska Løva (Lion of the North)

2010 - Mentunargrunnur Studentafelagsins

In 1935, during a school trip to visit the ruins of the eighteenth-century ship Norska Løva, a boy of fourteen disappeared. 75 years after that day the brother of the boy asks Hannis Martinsson to help him to found out the truth. Although Hannis is not convinced that he will succeed in finding something after all these years, he takes on the task. Soon he finds himself in a web of unanswered questions and trails of death.

Deydningar dansa á Sandi (Dance of death on the beach) 2011 - Mentunargrunnur Studentafelagsins

A man is found dead during the low tide on Grønulíð Borðoy. He was chained to the rocks on the beach and drowned when the flood came. An unusually grisly murder. Hannis Martinsson has a suspicion that through the years a number of murders have occurred and all of them are related to the town of Klaksvík in the northernmost islands of the Faroe.

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Crime novels 2013 Upcoming: Prædikarin 2012 Tann frmti maðurin  2011 Deydningar dansa á sandi  2010 Norska Løva  2009 Norðlýsi  2008 Metusalem  2007 Adventus Domini  2005 Krossmessa  1996 Á ólavsøku. Ein summarkrimi í 9 pørtum (A summer crime fiction novel in 9 parts.)  1994 Gráur oktober  1990 Blíð er summarnátt á Føroyalandi Translations 2014 Red Mass (Norvik Press, UK) currently in English translation.  2013 Nordlys (Torgard)  2011 Metusalem (Torgard)  2009 Korsmesse (Torgard)  2007 Option Färöer (Grafrt)  2001 “Das St. Olavsfest” in Morde in hellen Nächten. Die besten Kriminalgeschicten aus Skandinavien. Translated into German by Christel Hildebrandt.  1998 Brandstifteren (Vindrose)  1995 Grå oktober (Vindrose), re-published by Torgard, 2011  1995 Grár október. Translated into Icelandic by Ásgeir Ásgeirsson. (Uglan)  1995 Mild ist die färöische Sommernacht (Pettersson, Münster) – re-published as Endstation Färöer, Grafrt 2006  1994 Ljúf er sumarnótt í Færeyjum. Translated into Icelandic by Ásgeir Ásgeirsson. (Uglan)  1991 Blid er den færøske sommernat (Vindrose) re-published by Torgard, 2011 Children’s books

1991 Brennivargurin  1996 Horvnu kirkjubøstólarnir  1999 Barbara og horvna bamsan Popular nonfiction 2014 At myrða við skrivaraborðið

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Rafael Marín Trechera

Rafael Marín Trechera (Cadiz, Spain, 1959) began his writing career in the late seventies while studying English philology. In 1978, he created and directed the fanzine "McClure" and began collaborating with several magazines dedicated to science fiction and fantasy as "Kandama", "Maser", "Nova" and "Nueva Dimensión" for which he published his first antelitteram cyberpunk short novel, Nunca digas buenas noches a un extraño (recently re-released in an expanded, revised and corrected version).

Prizes - UPC - Ignotus - Pablo Rido - Castillo-Puche y Albacete de Novela Negra

After graduation, he began an academic career, teaching English language and literature at the Colegio San Felipe Neri of Cadiz, at the same time he has taken on the job of translator that will lead him to work for many publishers like Martínez Roca, Júcar, Ultramar, Folio, Ediciones B, Gigamesh, La Factoria de Ideas, Bibliopolis, Minotauro, Planeta, etc.. His first novel Lágrimas de luz (1984) is still considered among the best examples of Spanish Sci-Fi. In 1995 he published the first essay about Marvel Comics and begins to write stories and scripts for the world of comics including Iberia Inc. (1996), dedicated to a group of spanish superheroes followed by the series Triada Vertice. His work was noticed in the United States by Marvel who commissioned him to write some adventures of the Inhumans and the Fantastic 4. From 2001 to 2003, he worked as a novelist, essayist and translator and editor of the magazine "Yellow Kid" and created the comic series 12 del Doce. He is currently considered one of the most important and versatile authors of the genre in the Spanish scene. Marín wrote science fiction (Nunca digas buenas noches a un extraño and Lágrimas de luz), fantasy (La leyenda del navegante), historical fiction (Juglar), Bildungsroman (El muchacho inca), noir (Detective sin licencia, Los espejos turbios) and even an Holmesian pastiche (Elemental, querido Chaplin, translated into Italian by Meridiano Zero in 2012).

NOVELS AND SHORT STORIES AVAILABLE RIGHTS Elemental, querido Chaplin (Elementary my dear Chaplin)

2005 – Minotauro, Planeta Spain 2012 – Meridiano Zero, Italy (Rights are not available for this country)

Crime novel - adventure An ancient manuscript found in a safe deposit box reveals an incredible story: a street urchin in London in the early twentieth century began to collaborate with none other than Sherlock Holmes, becoming one of the Baker Street irregulars, a small army of informers on the payroll of the famous detective. Thrown in adventures beyond imagination from the basement of Chinatown on the trail of Fu Manchu up to the legendary Swiss villa where Mary Shelley give birth to Frankenstein, trying to rescue Albert Einstein from a secrete sect, Charlie still dreams of being an actor... Lágrimas de luz (Tears of light) STUDIO GRIMORIO | VIA LIBIA 64 | 40138 BOLOGNA | ITALIA | (+ 39) 051 716 20 20 | info@grimorio.it

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1984 – Fénix 2^ edition 1986, Orbis 3^ edition 1986, Hyspamérica 4^ edition 2002, Gigamesh 5^ edition 2008, Gigamesh

Sci-Fi The novel that was the watershed for Spanish science fiction. An epic song with the imagery of space opera. Third Middle Ages: humanity languishes on the old land while the ships of the Guild go to the conquest of other planetary systems. The alien worlds are devastated and exploited to the bone in the name of human expansion into space. The military exploits are sung by bards that properly distort the truth about the wars and turn human atrocities into epic ... La leyenda del navegante (The Seafarer’s legend) 2006 – Minotauro, Planeta España 2^ edition 2013, Sportula

Fantasy - Adventure The civil war is about to overwhelm the lands surrounding the Sea of Swords and destroying the covenant which for centuries has maintained peace and brings prosperity to the merchant realms that overlook the ocean. Only a hero can give an end to the chaos and restore the balance between the forces involved. Salther Ladance, the man who gave up a kingdom to become a pirate on the "Seafarer", the most powerful ship that ever sailed the waters, has forged his legend taking possession of the secrets of the Tower of Lindisfarne, and now coming back from the lost continent of Eressesa he have to get back to Génave and face a fate which will decide the future of the world. La ciudad enmascarada (Masked City) 2011, Ajec.

Thriller - Horror Mardi Gras is coming and the city of Cadiz is ready for the festivities. A coronary dysfunction has forced to retirement professor and former writer Gabriel Amador. Now he is a sad man that drag himself through the streets and along the days. One night, a mysterious Arab beggar give him a strange gift: the mother-of-pearl eye of an antique doll. When the beggar commits suicide an hour later, Gabriel falls prey to a series of nightmares in which he sees submerged civilization and hears echoes of other worlds and eras, prayers to forgotten deities that no human tongue could pronounce the names... Entangled without his knowledge in a web that involves cursed poets, decaying former models, small time crooks, serial killers, underground cults that date back to the dawn of time. And in the eternal struggle between sea and sky Gabriel Amador find that there are worse horrors than solitude and boredom. The carnival is coming and the city puts the mask on... Or takes it away. Piel de fantasma (short stories) (Skin of ghost) 2010 - Ajec

Fantastic - Horror - Adventure Rafael Marín is considered by audiences and critics as one of the best authors of fantastic and is properly in his stories that he gives the best of himself. "Piel de fantasma" brings together twelve of his most representative and important stories such as "La sed de las panteras", "Bibliopolis", "Ragnarok en las playas de Ithaca", "A canica en la Palmera", "La piel que te hice en el aire "or "Son de piedra". Stories that combine mystery and fantastic, creating a universe where everything is possible.

El muchacho inca (The Inca Boy) 1993, Miraguano

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Adventure - Children The novel tells the story of a young Inca and his father - a powerful conqueror - of a cultured Indio and his black slave who carries tattooed the map of the legendary Mountains of the Throne, in which is told to live the pumaface men whose priests operate miracles during the ceremonies of the sun. An adventure where myth and legends of the conquest of the Americas will become reality: the glint of gold is mixed with the one of steel and the thirst for knowledge. The story as it was, but as it should be. Ozymandias (short stories) (Ozymandias) 1995, La Calle de la Costa

Fantastic - Horror - Adventure In this collection of twelve stories, fantasy and reality collide and meet. We will see a conversation that could change history, the dilemma of a detective in front of the edge of the world, the pain of a superhero and the burdens of everyday life.

Juglar (Jester)

2006, Minotauro, Planeta Spain

Historical - Adventure It is told that Rodrigo Díaz de Vivar, “Mio Cid”, won his last fight in death, leading the army to victory. In fact, one Sunday in the month of July in the year of grace 1099, failing to recover from an injury to the neck, el Cid died. It was no doubt, thanks to the magic arts of the three monotheistic religions put together, that in the presence of the widow Ximena,of the captain of the army, of the bishop don Jerónimo, the body of the Champion came to life for a day: that day in which he had to defend his land from the arabic enemy again. The spellcaster, as Ximena wrote, was a certain Esteban de Sopetrán, a bard and minstrel troubadour also known as Estebanillo or, more simply as The Jester.

Nunca digas buenas noches a un extraño (Never say goodnight to a stranger) 2012, Sportula

Cyberpunk - Noir Amsterdam in the near future: Netherlands is dictatorially controlled by a computer. Ebenezer Steel survives as a private detective who slips into a too larger case for him.

Detective sin licencia (Detective without license) 2003, Lista Negra

Noir A former and a bit foolish boxer that does not distinguish the right from the left side and suffers from amnesia is forced to become a detective. With its more capacious bag goes in search, dumpster by dumpster, of the pathos that everyday life has taken away from him a long time ago. A visceral noir, dark-hued but full of humor. His name is not Sam Spade, he never went looking for a falcon of gold or precious jewels, he did not even have a p.i. license and does not need it. Torre, the protagonist of "Detective sin licencia" is the antithesis of everything that a character in a noir should be, and the least important thing in this novel is precisely the investigation. What matters are the characters, their interactions, places and situations that make the reader the first accomplice. A totally atypical and surprising novel that breaks the mold, which does not mean that there is no plot, a compelling story and an incredibly surprising ending. Los espejos turbios (Murky mirrors)

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2012, Ajec

Noir During the Christmas party, the clumsy Angelito Fiestas is a witness to a crime lord in the bathrooms of the University. Angelito asks for help to the only detective who knows and who could give him a hand, the former boxer who suffers from amnesia: Torre. When the corpse disappears, things get complicated, because if there’s no body there’s no crime, yet Angelito saw the killer in the face, a prominent citizen, dean of the university, essayist and estimated professor ena even Wise Man in the upcoming theatrical representation. The detection brings Torre and Angelito to deal with the devious mind of a criminal with a double life that perhaps he’s not even conscious of and at the same time to try to unmask the killer, who is keeping on killing some wannabe web porn star. El niño de Samarcanda (The child of Samarkand) 2011, Paréntesis Editorial

Literary Novel El niño de Samarcanda is a story of forced exile, of a childhood without brothers and companions in which appears the ghost of the Spanish Civil War, set between two seas and two continents, in a city condemned to the sinking in which a family of immigrants has to deal with childish freedom and adults loneliness. El niño de Samarcanca is also a chronicle of a love for literature and of the hurting encounter with poetry, with politics and journey: an opening to the world. From the sixties to the early time of transition to democracy after Franco, Juan José dreams of becoming an astronaut or a torero, a pop star, a journalist, a poet. Between autobiography and fictional reflection of a true memory, El niño de Samarcanda is the portrait of a teenager from the soul of an artist in a society far as the neighborhood of the memories that we never get back to. Novels and short stories - Lágrimas de luz (1984) - Unicornios sin cabeza (short stories 1987) - Trilogy La Leyenda del Navegante: Crisei, Arce and Génave (1992) - El muchacho inca (1993) - Ozymandias (short stories 1996) - Mundo de dioses (1998) - Contra el tiempo (2001, with Juan Miguel Aguilera) - La piel que te hice en el aire (short novel 2001) - La sed de las panteras (short stories 2002) - El centauro de piedra (short stories 2002) - Detective sin licencia (2004) - Elemental, querido Chaplin (2005) > Elementare, Chaplin!, Meridiano Zero 2012 (Italy) - La leyenda del Navegante (2006, omnibus) - Juglar (2006) - El anillo en el agua (2008) - Piel de fantasma (short stories 2010) - La ciudad enmascarada (2011) - El niño de Samarcanda (2011) - Las campanas de Almanzor (historical novel for schools 2011) - Oceanum (2012, with Juan Miguel Aguilera) - Los espejos turbios (2012) Essays - Los Cómics Marvel (1996, second edition 2000) - Hal Foster: Una épica post-romántica (2004) - Spider-Man: El superhéroe en nuestro reflejo (2007) - Los cómics del exilio (2008) -W de Watchmen (2009)

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Leandro Ávalos Blacha | Berazachussets Entropía, Buenos Aires 2007, ISBN 9 789872 350833. Indio Rico Award 2007 Rights sold in France: Asphalte first edition, 2011, second edition Gallimard, 2013. Rights available worldwide.

Berazachussetts is a catchy and pristine story, Leandro Ávalos Blacha was born in Quilmes in 1980.

inspired by the new trends in contemporary literature, that unleashes a reflection on the complex, and sometimes weird, relationships between literature and society. With a breezy and corrosive style Leandro Ávalos Blacha grinds genre conventions and makes to coincide the most emblematic traits of the B movies and pulp literature with the geography of the Buenos Aires literary landscape, to build a very special universe whose most notable value is the happy grip it exerts on the reader. (César Aira, Daniel Link, Alan Pauls, Prize Indio Rico’s Committee) Take "Desperate Housewives" and mix it with the “Dawn of the Dead”, add a pinch of "Thursday's Widows" by Claudia Piñeiro and splash it all with punk rock. Berazachussetts is a narrative puzzle in which all the pieces are put together step by step towards a unique apocalyptic final.

He won the award Nueva Narativa Sudaca Border, Eloísa Cartonera, 2005 with “Serialismo” and in 2007 the award Indio Rico with “Berazachussetts”

«La géographie fantastique du roman reflète cette mixture et la tension qui en découle pour soutenir une vision déformée du réel [...] impure, teintée de l’univers des films d’horreur, de l’étrange, du pulp, avec un certain air de science-fiction.» Leandro Àvalos Blacha, interviewé par François Perrin Standard Magazine, janvier 2012 «Un (court) roman furieusement tropicaliste genre les Marx Brothers chez Romero.» Jean-Pierre Adrevon, L’Écran fantastique, janvier 2012 «Avec Berazachussetts, son deuxième roman, le trentenaire Leandro Ávalos Blacha propose une plongée explosive au cœur d’une Argentine devenue folle, à travers des pages aussi distrayantes que troublantes.»

The situations and characters are sketched with a sense of humor without ever losing credibility. The « Le roman se présente comme une fable légère, accessible, novel depicts with the lightness typical of the genre, haletante. Pour autant, le lecteur ne devrait pas s’y tromper the plight of a country in the throes of economic, longtemps : un salutaire malaise political, cultural and ethical crisis. Argentina's default described by pourrait rapidement learauder, qui n’aura rien d’accidentel. Qui a dit Berazachussetts resembles nowadays Europe: corrupted politicians, que de la fantaisie ne pouvait découler une dénonciation en mean celebrities, silly starlets, blackmailed subaltern classes, bonne et due forme ? precarious economic situation, and much, much desire for François Perrin redemption, by those who seem not to live longer. Berazachussetts TGV Magazine, décembre 2011janvier 2012 seems to say: it's time to rise out of graves. Similarly, the final apocalyptic inundation works as a total ethics clean-up worthy of the great flood. The ability of Ávalos Blacha is to never slip into a didactic or moralizing tale, thanks to his irony and his cinematic writing.

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Leandro Ávalos Blacha | Medianera (The Go-Between) Editorial Eduvim, Argentina 2011 | Argentina | 92 pp. |ISBN 978-987-1727-53-7

Medianera (The Go-Between) is a collection of four short stories which takes Huxley’s visions into Cortázar’s Argentina. In a world dominated by a telecommunication company, customers must affiliate with it, pay huge fees and allow the inspection of all their actions and private business. The company offers to the customers some discount if they host some prisoner. The daily relationships between the improvised guards and the prisoners, develop into a stifling atmosphere where the radiation emanated by a monstrous antenna fries the air, everyone could be a rat and the Big Brother watches you from the screen of your phone… The first story tells about a guard who falls in love with her prisoner and has to rescue him from the aim of his wife; the second one is about an unbeaten wrestler who takes an impossible dare; the third one is about a scientist, whose work is to downsize heads, who tries to train a little girl who feeds on human flesh; the last one tells about a doll left by a kid in a no man's land that triggers a series of mysterious events.

Leandro Ávalos Blacha was born in Quilmes, Argentina, in 1980. As journalist he works and lives in Buenos Aires. He won the award Nueva Narrativa Sudaca Border 2005 with “Serialismo” (Eloísa Cartonera) and in 2007 the award Indio Rico with “Berazachussetts”, published in France first by Asphalte and them by Folio, (Gallimard). His short novel “Medianera” (Eduvin), was also translated in French by Asphalte. In 2014, he was a guest of the Salon du livre de Paris and in the 14th edition of the festival Imaginales.

This collection of stories mixes irony, humour and social denunciation in a very peculiar way, a way that has lead Avalos Blacha to be fair and inevitably associated with César Aira. The four short novels are connected, and even if they cover different genres from dystopia to crime fiction, situations and characters are meant to be read together in a sort of charming downward spiral. The french edition includes another unpublished short story. Press Review h+p://asphalte-edi4ons.com/data/presse/21032013114746presse.pdf h+p://www.revistalecturas.cl/leandro-avalos-blacha-medianera-por-natalie-seve/ h+p://www.dailymo4on.com/video/x1erly1_leandro-avalos-blacha-medianera_crea4on h+ps://www.youtube.com/watch?v=mdYPGzLSFTo

Gastón Pérez Izquierdo | Lepanto y la Armada de la Cruz (Lepanto and the Armada of the Cross) Olmo Ediciones 2014 | 15 x 23 cm | 400 pp. | ISBN: 978-987-1555-52-9 The fleet of infidels stretches to the horizon, imposing, majestic, terrifying. Faced with such a spectacle, doubt creeps up on the spirit; muscles tense, mouths dry up, throats close. The Ottoman warriors scream to intimidate their enemy; the deafening banging of shields reveals the presence of the much-feared Janissaries. The noise of the Turkish ships is so terrifying that it chills the hearts of the Christians and drowns out the thundering of the sea. There, in front of our eyes, lies the Sultana, the flagship where Captain Ali Pacha is flying the banner of Allah The Victorious to challenge the cross. In the face of a show like this certainties falter but, just as spirits are wavering and discouragement is growing among the Christian warriors, Don John of Austria appears. He is nobility incarnate. He has set aside his armor and put on full regalia, his sword at his waist. He dances a galliard to instill calm in his men. "Long live Santiago and Spain!" shout the Castilian infantrymen. A thousand voices respond in unison: "Long live Spain, long live Spain!" The Venetian flank cuts the enemy off. The galleys of Venice, commanded by the Bragadinos, seek to avenge their brother, recently martyred by the Turks at Famagusta. Skilled sailor John Andrea Doria draws the formation led by renegade Uluch Ali out into open sea. The Legion of Malta, led by Father Giustiniani and Don Alonso, give battle without mercy. A swarthy sergeant of the Spanish infantry, with little in the way of fortune but a true talent with words, witnesses the battle. He would later describe it as "the greatest occasion in centuries past and in those to come". Cervantes would also later say that he lost his left hand not in a tavern brawl but at this great battle, where the fate of Christianity was at stake. The cross prevailed over the Ottoman crescent and the Catholic faith over Muslim heresy. Even God took sides in the battle, and informed Saint Pius V of the victory. That was the battle of Lepanto. This is the fictional history of it.

About the author Gastón Pérez Izquierdo is a lawyer and notary public. He graduated from the University of Buenos Aires in 1961 and earned his master degree in Diplomacy from El Salvador University, Buenos Aires, in 1964. He won a scholarship to undertake postgraduate studies in Rome in 1964, where he completed his doctorate in Law and Interna\onal Poli\cs at the Catholic University in 1965. Professor of Public Interna\onal Law and Economic Policy at the School of Law, University of La Plata (1969–1973). Professor of Public Interna\onal Law, School of Law, Catholic University of La Plata (1970–1977). Dean of the School of Law, Catholic University of La Plata (1974–1977). Doctorate in Law and Social Sciences, University of La Plata, 1973. Mayor of Lanús Municipality (1979–1982). Government Minister, Buenos Aires province (1982–1983). President of the Dr. Emilio J. Hardoy Founda\on. Contributor to La Nación and La Nueva Provincia newspapers; regular columnist for La Prensa newspaper. He is the author of several books: La úl\ma Carta de Pellegrini [Pellegrini's Last LeFer], La Mirada Global [The Global Gaze], Adolfo Alsina, Caudillo y Estadista [Adolfo Alsina, Caudillo and Statesman], Los Marqueses de Buenos Aires [The Marquesses of Buenos Aires], Borges y Hardoy. Un diálogo en el Cielo [Borges and Hardoy. A dialog in heaven], La Invasión de Inglaterra 200 años después [The English invasion 200 Years Later], and La Campaña del Desierto [The Desert Campaign]. He is a member of the Argen\ne Academy of History and is currently wri\ng about the Spanish admiral Blas de Lezo.

Press Review hFp://www.infobae.com/2014/06/28/1576584-mi-historia-lepanto-es-novelada-pero-todos-los-hechosson-ciertos

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Esther Cross was born in Buenos Aires in 1961.

In the world there is no justice, but some debts could be paid off, so it is established… Miss Porcel is fighting for her life in front of an ATM. The woman who tried to kill her looks at her and tells us what she sees. Grudge is the soul of this story. Money, power, subtle violence, class codes and family rules are the main themes of this novel that is set in a creepy Buenos Aires, the capital city of a country that will soon get in the street and riot. “La señorita Porcel” is also the story of a woman who discovers to be too clever to be right winged and too rich to be left winged, a woman who manages to solve this conflict paying a really exorbitant price. The novel develops the issue of the “rich poor country, always resentful”. It speaks with clarity and irony but works like a recalcitrant psycho with a bullet loaded soul. The woman who tells us the story recounts her revenge against Ema Ponciana Porcel de Peralta, a friend-enemy of her family. The story goes through two paths, which leads to tremendous aggression at an ATM in the neighborhood of Recoleta, and what happens after the hospitalization of the elderly Miss Porcel. Esther Cross portrays the miseries of an oligarchy in decline during the ferocious crisis of 2001. The novel was the winner of the 6th International Essay and Fiction Prize by Siglo XXI, the National Autonomous University of Mexico, the Autonomous University of Sinaloa and the College of Sinaloa. When in a family someone who writes pop up, usually the family does not like it. He will be seen has a traitor, the one who was watching, the witness who will talk, but, at the end, it is also a decision of the one who writes. You could write a book in many ways, but definitely it will be a betrayal. (Esther Cross)

She is the author of four novels: The Chronic Winged Apprentices (Emecé, 1992), The Flood (Emecé 1993), Banquet of the Spider (Tusquets, 1999), and Radiana (Emecé 2007); and the author of two collections of short stories, Divine Proportion (Emecé, 1994), Kavanagh (Tusquets, 2005) and the essay The woman who wrote Frankenstein (Emecé, 2013). She co-authored along with Felix della Paolera two books of interviews, Bioy Casares at the time of Writing (Tusquets, 1987) and Conversations with Borges (Editorial Fuentetaja, 2007). Her short story El regalo (The gift), published in the anthology La selección argentina by Tusquets and edited by Sergio Olguín was translated in German (Spurem in Schnee. Neue Weihnachtsgeschichten aus aller Welt, "Das Geschenk", Esther Cross, Club Premiere, Deustche Erstveröffentlichung, 2002), Dutch (Sporen in de sneeuw, Nieuwe kerstverhalen van de beste scrijvers ter wereld, 2Het Geschenk", Esther Cross,The House of Books, Vianen, Antwerpen, 2003) and French (Nouvelles d'Argentine: Sergio Bizzio, Gonzalo Carranza, Ricardo Piglia, Esther Cross, Sergio Chefjec, 2le cadeau", Esther Cross, Magellan&Cie///Courrier International, Paris, 2010).

Esther Cross grew up two blocks from the house of Bioy Casares and Silvina Ocampo. Many times when she was a child she saw those authors shopping in the neighborhood grocery store while she was rocking on a swing in the Recoleta's playground. Little Esther, as like the protagonist of her novel, from the back and forth of the swing, already knew how to look beyond appearances, she sensed already the essential motion for both parties to live together: the facade and the substance which inhabits it. She saw the dead in the country’s most famous cemetery and at, the same time, outside, in the streets, the one who walked with the easiness of knowing that it would be their final

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destination. The names on those tombstones were already written, from the first life’s day. The heart of my neighborhood is a graveyard, says the narrator of “Miss Porcel”. Walking through those streets, from early childhood, Esther Cross could recognize among crosses and chapels, the living and the dead, and tell their pittance: the only thing they have ever known, the one that digs them inside. (Luciana De Mello, “Radar Libros, Página 12”) Press Review + Interview in Spanish: www.tinyurl.com/y8z6e2g Interview in English in the Los Angeles Review of Books: www.tiny.cc/wn0ucx

Only a city that is home to weird doctors, inventors who cheat, thorny artists, spiritualists, gambling billionaires and romantic employees can give rise to a satirical and sentimental fable as

In 2002 she released The Insulted and the Injured, a documentary film that she co-wrote, co-directed, and co-produced with Alicia Martínez Pardíes. She has translated Richard Yates’s Eleven Kinds of Loneliness (Emecé, 2001) and William Goyen’s The Faces of Blood Kindred and Other Stories (Editorial La Compañía, 2008). She has been awarded a Fulbright and a Civitella Ranieri scholarship. She teaches writing in Casa de Letras, Buenos Aires, and for Fuentetaja, of Spain. She is published regularly in several culture magazines and supplements.

Radiana. On the background of the passage between nineteenth and twentieth century, Esther Cross intrigues a plot about time, the lateness of love and the power of fantasy. As the pianist Rita Lavenza loses control of his hands and of their masterful performances, professor Elmer Dus, her devoted husband, conducts an experiment that will, as he says, distort the course of scientific research. Thanks to the financial support of Barbara Astor, an aristocrat patron, the scientist creates in the image and likeness of his wife the first robot in history. Written with humor and wit, this novel explores, with more irony than apprehension, the possibilities of the marital andextramarital relationships, through science and art, medicine and death and above all writing and future. Anyone who wish to find in literature a space of pleasure and reflection, where the mood is placed in the foreground and events happen with cinematic precision, must read “Radiana”. With a unique style that has well earned her the recognition and the place she occupies in Argentinean literature, Esther Cross offers an amazing text thought to be pure creation. Right from the title, we can not avoid to think about the eponymous play by the Spanish Agustín Ortíz (1533), but that only because the title matches and both texts have the comedy cadence. Cross’ Radiana, away from the Ortíz’ one, starts from the building of a robot by a flamboyant inventor and from this premise it jumps into areas that overstep the imagination of reality. This time, the chosen format to tell us the story is the nouvelle, a literary genre unpracticed by local writers, but which is, without doubt, a success a the time of write: few characters, a main topic (creating a being) and two sub-themes (love and power) that are intertwined, in this way we don’t lose sight of the thread which leads us through the maze of words. History may well happen after the First World War when scientism was increasingly growing, from the need for new discoveries. We may be witnessing a high middle class that is showing its life and conflict in action, while we contemplate the lives of those who seek a place in the world and how they interact with the upper classes. From this space time location, the author doesn’t deprives us of nothing: an almost crazy scientist husband, an harmed pianist, a dazzling and adventurous patron, a robot under construction, a faithful butler, a chef and model in disgrace, and other characters providing a cool colorful and vivacious distant time, but recovered and restored by this novel.

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Even if the main character is a robot, the novel is not a science fiction one. It not intends to give us a report on the problem of biotechnology’s dehumanization, but, by contrast, it shows that automation of man happens naturally in the way society has robotized us from cultural and social patterns. Radiana is a logical consequence, the final product, the following utterance, the word made metal accusing the existing robotics in ourselves. Performed repetitions of paragraphs and sentences hides the shadow of horror. A repeated pattern triggers a laugh, but the constant and mechanized is frightening because it lost humanity and turns into something uncanny. Radiana is a great novel. Written in forty-five short chapters, with towering, absurd and surreal humor. Subtle and austere, full of rich irony. It was created to remind us that the path of literature is reflection but it can also be the way to enjoyment and pleasure; shortcut between emotions, thought and magic, the road quickly and safely to happy imagination. Critical Review in Spanish: www.tinyurl.com/nvthutt

For generations, the family of Celina Dorval proudly maintains two distinctive features: the pointed ears and a passion for art. But Dorval are not critical collectors but bizarre and enthusiastic fetishists, responsible for the theft or mutilation of great culture’s icons as La Gioconda, the Pity or The Night Watch. Heir of the elf ears, Celina rejects the family vandalism and dedicated herself to track its causes. In this search, she finds love, a handful of bitter truths and a glimpse of herself. Full of humor and sophistication, The feast of the spider is both a shrewd reflection on the art world and a Bildungsroman. With this book, Esther Cross strengthens one of the most personal narrative projects of the current Argentinean literature. Critical Review in Spanish: www.tinyurl.com/o6rvwbp

Esther Cross | La mujer que escribió Frankenstein (The woman who

wrote Frankenstein)

Emecé| Buenos Aires | 2013| pp. 208 | ISBN 9789500435338 Rights available worldwide.

How a young girl came to think of, and to dilate upon, so very hideous an idea? Mary Shelley wrote the immortal story of Dr. Frankenstein and his monster when she was 19, but during her life she also has written other novels, short stories, essays, reportages, diaries, letters, and, above all, she was a clever witness and protagonist of her time. Mary Shelley was born in a dark age in which she learned to read her name on a tombstone and used to keep the heart of her husband on her desk.

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In Frankenstein, the iconic novel, she invented a monster made from parts of corpses. Those were the years of Science, of the light of reason and the romantic cult of life, there were also violated tombs and clandestine operating theaters too. People believed in scientific development and at the same time they were afraid of it. Some, like Mary Shelley, were encouraging humankind with books and in their life, despite the fear, to go a little further. The woman who wrote Frankenstein retraces the steps of the writer, lighting up the streets and cemeteries where Mary Shelley sat to read when she was young and used to meet with her lovers, while the surgeon practiced the first dissections in front of an audience and the sleep of reason produced monsters. The woman who wrote Frankenstein, the book of Esther Cross, is not a simple biography, it’s the portrait of an era in which medicine and science were growing and experimenting to understand life through death as in Frankenstein, the masterpiece by Mary Shelley, to whom did not lack neither intelligence nor passions or personal tragedies to tell it. It could be read as a novel, but it’s not fiction. Its sources are real, but they have a quite literary character. It tells about the life of Mary Shelley but it’s not a biography in the traditional sense... An exciting unclassifiable book. (El Tiempo) The woman who wrote Frankenstein by Esther Cross begins with a quote from the introduction of Mary Shelley’s own novel: “how a young girl came to think of, and to dilate upon, so very hideous an idea?”. Cross’s book found its first impulse in attempting to answer this question, Mary Shelley indeed was a teenager when she conceived her sinister "creature". The work spawns, of course, from her imagination, but has the macabre ting of the Century in which she was living. It was the time when resurrectionists wanted to breathe life into inert matter from electricity, it was time for grave robbers who dug up bodies to satisfy the curiosity of anatomical dissectors and cemeteries were either places for peacefully walking or dark places where at night the tombs became objects of desire. It was also the time of the great collections of Anatomy and the time when there were no painkillers and no anesthesia so the skill of a surgeon consisted mainly to be fast to save the patient the most frightening time of suffering. Science, superstition, life, pain, hope and death were strongly tied together and Mary was the perfect storyteller for that, why she was marked by death since childhood. She learned to spell her name on the grave of the mother and her mother was exactly like her. Of the four children she had only one survived and her husband, the poet Percy Shelley, died in a shipwreck when he was 29: his body was cremated on the beach, but through a friend Mary could have back his heart to wrap it in the first page of a poem and carry it with her in a nomadic life. Cemeteries were her “genre”, gothic wasn’t a literary topic but a way of life to her. Cross decided to let the documentary materials to speak as fiction, she has not written a comprehensive biography of Mary Shelley, but rather a tale of her life focused on her close relationship with death and the amazing thing is that it seems an engaging novel.

The Wilkinsons -great drinkers-, Mr. Olenski - Conrad’s translator, the Pasos and the Rentzel - crossing couples - and Crusades and sisters Mc Lean have something in common: they live in the same building. Kavanagh is the sum of their stories and of the woman who tells them sitting in front of a typewriter, with his dog. The group lives in an involuntary and permanent meeting. Life has them in the elevator, in the hallways and in difficult situations, gather them in the mouth of Paredes, the doorman, and in the eyes of the tourists who contemplate Kavanagh from the square. The stories build up a building that works as a neighborhood and discovers the greatness and pittance of the characters that comprise it. STUDIO GRIMORIO | 64, Libia rd. | 40138 | bologna | Italy | p. {+39} 051 716 20 20 | m. {+39} 329 22 67 452 | Vat Number 03198321204 | info@grimorio.it | www.grimorio.it

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Anagrama’s Premio Herralde 2012 finalist

The leading lady of Good, Neat & Pretty is a cute rocker and poetess, mother of a four year old kid, who works at the civil registry. By fiction’s irony she’s confined in a sort of coma, suspended in the limbo of a minimum war between worlds - life and death - as herself used to indicate it in her municipal office, sealing death certificates. Mute, paralyzed, unable to call for help, still she has a weird power, which only gods and bulimic narrators possess: she sees, understands, knows everything. And she do narrates everything. As a desolation wonder, this super narrator does not miss anything. But her clairvoyance is barely enough to go along with her characters - half dozen of hopeless urban creatures on their misfortune-bound way. And that, as in the best tragedies, is already written from the beginning. Yes: there’s something of ancient Greece tragedy in Vera Fogwill, something sleepless and blind, rushing and wishing, that illuminates everything she writes and at the same time stains it with a kind of incurable rage. Good, Neat & Pretty is a polyphonic novel which plays with Ettore Scola’s sense of grotesque to turn it onto a darker play. It has the metastatic frenzy of Paul Thomas Anderson’s movies and echoes of Harmony Korine’s trash world. But cinema is in here a compulsion or a nightmare, not an influence. Good, Neat & Pretty is a hyperliterary novel which quotes without quotation marks Dostoevsky and The Virgin Suicides and almost turns the misfortune (personal, domestic, social) into an operatic event. Vera Fogwill’s novel is cruel because it’s accurate, raw because it lacks of fear, and excessive because she knows that everything that’s worthwhile is always on the line, on the edge of things, passions, and stories.  Alan Pauls

Press h"p://www.youtube.com/watch?v=_TlKhA8HZgM

Vera Fogwill is an internaEonally appraised ArgenEne arEst, winner of several awards as stage and movie a c t r e s s , d i r e c t o r, w r i t e r (screenwriter and playwright) and as an arEsEc producer. Her ﬁlm “Las mantenidas sin sueños” / “Kept and dreamless”, which she produced, wrote, codirected and acted in has become the most awarded Opera Prima (First Work) in the history of ArgenEna’s Cinema. It run in the short list for the Golden Globe Award for "Best Foreign Language Film” in the United States in 2005. Nominated for the Golden Globe by the "InternaEonal Los Angeles LALIFF Film FesEval" where it won both “Best Film Award” and “Best Opera Prima” at the fesEval. As author and writer she had a column in the“No” the young reader secEon of newspaper Página 12 in 1999 and has published even arEcles in the Cultural SecEon and in the “Radar Libros” secEon, in the magazine Haciendo Cine and the magazine Enlaces. Her tales have been edited in internaEonal female writer’s collecEons. Among this collecEons are: “No somos Perfectas” from the Editorial del Nuevo Extremo. In August of 2013 Publishers Planeta and Seix Barral published her novel “Buenos, lindos y limpios” all over LaEn America.

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Clarin - 09/09/2013 Vera Fogwill: “La muerte es un tabú” di Mauro Libertella En su primera novela, la actriz, guionista y cineasta cuenta cómo fue el proceso de trabajo para una historia excesiva en la que todos sus personajes están muertos. Excesiva” es la palabra talismán en la que coinciden los que ya la leyeron para adjeEvar a Buenos, limpios & lindos, la primera novela de Vera Fogwill. Y el exceso es aquí un plus, un generoso superávit de senEdo: ese plus está en la prosa, que conjuga con desparpajo lo hiperliterario, lo lúdico, lo oral, lo especulaEvo y lo visual; está también en la trama, que despliega un grupo de personajes que mueren el mismo día y cuyas vidas, como en un flashblack inmediato, se cuentan hacia atrás porque esa muerte les dio enEdad y les confirió un lugar en este libro. Todo lo que podamos agregar sería redundante o reduccionista, y en definiEva absurdo pretender resumir un libro tan vasto…

Pagina | 12 - Radar Libros - 08/09/2013 La vera Historia di Mercedes Halfon Es su primera novela. O quizás sea la úlAma, según señala en esta entrevista. Vera Fogwill no concibe su relación con el arte como algo estáAco o una carrera en sí misma, sino como un dinámico paso entre la dramaturgia, el cine y también la escritura. Así y todo, Buenos, Limpios & Lindos es una novela que abre y encuadra una relación de la escritora con la literatura y una herencia ligada al padre, en la que una mujer ya muerta observa el incesante agitarse de unos personajes obsesionados por las disAntos formas de sobrevivir. Vera Fogwill cuenta que cuando era muy chica y no sabía escribir ni leer, empezó a contar historias dibujando. Hacía planos. Una ciudad o una casa vistas desde arriba y la gente como hormigas marchando por el living, en la plaza, dándose una ducha. Como usaba mucho la regla, en su casa empezaron a vislumbrar un futuro en ingeniería o arquitectura, pero a ella, en realidad, lo que le gustaba era lo que venía después, cuando llevaba el dibujo a alguno de sus padres y le relataba lo que pasaba ahí, cuando todos esos personajes terminaban yéndose al bosque en medio de la noche. Cuando por fin aprendió a escribir, esa maquetación desapareció. Fue reemplazada en la adolescencia por ese otro modo de construir relatos que es la actuación. Vera estudió teatro casi desde niña —su madre, Janín Demanet, fue actriz del Di Tella junto a Marilú Marini. Su “padrastro” fue nada menos que Alberto Ure— y muy poco Eempo después decidió empezar a escribir las historias que ella y sus compañeras inventaban con el cuerpo. “A los dieciséis escribí mi primer obra de teatro. En realidad eran varias escenas que había ido haciendo para el taller de CrisEna Banegas, pero ella se dio cuenta de que eran una obra. Ya estábamos cansadas de hacer obras en las que una tenía que hacer de madre, otra de hija, otra de abuela. Te estoy hablando de hace más de veinEcinco años, era divcil encontrar obras en las que hubiera hermanas que no fuera La casa de Bernarda Alba. Entonces me puse a escribir unas escenas para mi grupo. Y esa obra fue la que inauguró Babilonia.” La pieza, adolescente y dark, se llamó Abre el baúl que yo me encierro. Por eso no es tan raro que esta actriz, dramaturga, guionista y directora de cine, haya devenido escritora a secas publicando Buenos, Limpios & Lindos, su primera novela, ni que ésta haya sido finalista del premio Herralde 2012. Y no hace falta pensarlo por el lado de haber sido la hija del venerado y maldito Rodolfo Fogwill y todos los influjos que esto pudo tener. Solamente considerando sus primeros hitos, su precoz e imparable pulsión expresiva, el universo que se fue configurando desde niña, es bastante clara la filiación con lo literario primero y cierto interés por la ultratumba, después. También en teatro, escribió Las feroces (1994), con seis mujeres en el fin del mundo y Chica fría (1997), que tenía lugar en el velorio de una estrella de rock…

Zona de Ombras - 01/10/2013 Buenos, limpios y lindos - VERA FOGWILL La hija del gran escritor argenAno deja momentáneamente el cine para probar con la literatura y una tragedia moderna de alta costura. La primera aparición pública de consideración de Vera Fogwill fue su encantador protagónico en Buenos Aires viceversa, la película de los años 90 que marcó el regreso de su director, Alejandro AgresE, al cine argenEno. Luego, varios años después, la hija del legendario escritor Ernesto Fogwill presentó su primera cinta como directora, Las

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mantenidas sin sueño, que unía el mundo de Sova Coppola con la banda sonora de Babasónicos y una estéEca porteña. Ahora llega el turno de Buenos, limpios y lindos, su primera novela. Al igual que AgresE –publicó la suya entre ﬁlme y ﬁlme–, Fogwill no parece hacer demasiadas disEnciones, salvo el obvio modo de narrar. Si en literatura el ritmo lo es todo, Vera supera la prueba con creces, fundamentalmente en cuanto a la intensidad que le impone a su personaje: una empleada administraEva, madre soltera, amante del rock, poeta y, sobre todo, clarividente. Así, lo que en principio parece ser una historia mínima cobra dimensiones de tragedia urbana. Un gran comienzo para una escritora de linaje, que no discrimina entre los formatos mientras tenga algo para decir.

La voz del Interior - 10/10/2013 Criaturas sin salida di Germán Arrascaeta Vera Fogwill publicó su primera novela, “Buenos, limpios & lindos”, ambiciosa por su carácter coral y oscura por los trágicos desenlaces de sus personajes. La actriz, dramaturga y cineasta se refiere a los temas que aborda en su libro, como la muerte y las diferencias culturales, y cuenta que no se sinAó opacada por la inmensa figura de Fogwill, su padre escritor. El hijo fachero de un gurú moEvacional enano, una chica adoptada acomplejada por su nariz, un excombaEente que carga con sus fantasmas y resenEmientos e intenta imponérselos a su hijo, una geóloga brillante devenida en esposa de barrio cerrado, que huye del bienestar y le conva su niña a un amigo de la infancia, un nonagenario que enviuda y quiere recuperar un viejo amor, una joven musulmana ortodoxa que desarrolla intensos rituales de purificación aun cuando su familia se ha occidentalizado, precisamente, por rebelarse contra ciertos fundamentalismos. Todos están hilvanados por sus respecEvas y simultáneas muertes, narradas meEculosamente por una fan de Soda Stereo que formó pareja con un plomo del grupo y tuvo un hijo con él. Esta chica no sólo nos acerca las especificidades de esas muertes, precedidas por retazos de vidas que permiten una aproximación a la complejidad de la sociedad contemporánea, sino que también nos describe la propia… Así de coral, extraña y dark es la primera novela de Vera Fogwill (1972), actriz, cineasta y dramaturga que soporta con dignidad ser hija del genial Rodolfo Fogwill, fallecido en 2010. La novela se Etula Buenos, limpios & lindos (Seix Barral) y en su tapa hay una calavera que no chilla y que, de yapa, Eene los labios pintados con rouge intenso. Vera hace gala de su maestría para encastrar relatos disímiles. Toma de rehén al lector mediante largos desarrollos sociológicos, alucinaciones que suenan a discurso cien{fico e historias de vida que permiten dar un pantallazo de historia universal y/o nacional. ¿Habrá visualizado cada historia y luego trabajado la amalgama? ¿O sólo habrá fluido sobre la marcha, imaginando personajes, situaciones, conectores? “La novela es un resultado de un trabajo realizado por varios años. Lo primero fueron los temas que aborda. Después aparecieron los personajes que podían servir para hablar sobre esos temas. Cada personaje me fue trayendo a otro por su antagonismo. Después apareció la trama. ‘Apareció’ es una menEra, trabajé mucho en ella”… …“Tengo que reconocer que durante mucho Eempo fue trabajada como un guión cinematográfico, pero fue creciendo mucho y las historias, cada una, podían contarse en una película. Pero me interesaba la totalidad…”

Pagina | 12 - Radar Libros - 08/09/2013 Feos, sucios y muertos di Mercedes Halfon En el {tulo de su primera novela, Vera Fogwill juega con el legendario ﬁlm de E"ore Scola que retrataba con funesto humor la decadencia moral de una familia proletaria italiana. Pero así como en el caso de Scola el Etulo funcionaba como una descripción literal, en el de Vera Fogwill, esta caracterización es tan irónica como ambigua. Los sujetos que el {tulo predica son seis, y seis mundos se abren con ellos: el de los coleccionistas de armas, el de la excavación de petróleo en el desierto argenEno, el de las preocupaciones adolescentes que van de las cirugías estéEcas a la salvación del mundo, pasando por la importancia crucial de la playstaEon; el de la industria de la inseguridad; el de la industria de la autoayuda a gran escala; el del amor en la tercera edad; el de los ex combaEentes de Malvinas, entre otros, muchos otros (algunos, si no todos, puede apreciarse, mundos muy “fogwillianos”). Si algo Eenen en común los seis personajes es que están sosteniendo una apariencia. Son buenos, pero quieren dejar de serlo; están limpios, pero eso signiﬁca un esfuerzo gigantesco; son lindos, pero no para ellos mismos.

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La novela, como una suerte de tragedia kitsch, nos cuenta el final de estas insólitas historias, al principio. Los personajes están muertos ya. Lo que leemos es lo que los llevó hasta ese final, en casi todos los casos, algo patéEco. El relato nos llega por parte de una narradora también personaje, también muerta, que como un dios, todo lo sabe y todo lo ve. Y quien conozca un poco el mundo de Vera Fogwill no le costará demasiado relacionar a esta chica, madre joven con un pasado de rock y noche porteña, con la anEheroína de Las mantenidas sin sueños. Ambas están retratadas con una gran sensibilidad para el exceso, visto desde el punto de vista del límite que significa un niño a cargo. Con la diferencia de que esta madre sola con su hijito en un departamento no es una adicta, sino que está, directamente, muerta. Decir que se trata de una historia coral es poco: es una novela hiperbólica, un híper relato, que en cada pliegue abre una nueva capa de detalle y de senEdo…

Télam - 29/10/2013 Vera Fogwill:”Es una casualidad que estemos vivos” di LeEcia Pogoriles Seis personajes y una narradora omnisciente se cruzaran en el rompecabezas de la coAdianeidad hasta el proximo martes, el dıa que moriran, resume Buenos, limpios & lindos, la primera novela de Vera Fogwill, que hila mulAples voces para repensar la existencia humana y digerir un mundo que se oscurece día a día. … Buenos, limpios & lindos (Seix Barral), contracara local de la comedia negra de E"ore Scola, "para ensombrecerla mejor", dirá Alan Pauls, es un panópEco de vidas que se acabarán, una trama armada arquitectónicamente que transita por la crueldad, la emoción, la angusEa y la euforia para llegar a un lugar -¿la muerte?- y a un por qué, mientras se impone como una suerte de manifiesto autoral para decir "lo no dicho”… … Embarcada en una estructura narraEva “que fue un desavo”, Vera craneó esta novela “en capas” ocho años atrás, incluyó datos precisos –como que en ArgenEna mueren unas 305.000 personas al año-, invesEgó a fondo sobre el mundo musulmán, agregó cientos de referencias culturales e incluso consultó desde el I-Ching hasta seminarios magistrales sobre cómo aprovechar el Eempo. "No quería servir todo en una bandeja sino que haya un pequeño esfuerzo, no simplificar las cosas, es como en la vida que vas escuchando cosas y armando rompecabezas… Con destreza, la autora logra correr el velo del miedo a dejar de exisEr. “Pensar desde la muerte da trascendencia a hechos que si no fueran así, serían nimios. Sería estúpido contarte sobre un adolescente que quiere una PlayStaEon y el padre no se la quiere regalar, por ejemplo. Si no ponía ese límite los problemas serían coEdianos o generacionales. Si realmente vas a morir, volvés a tener senEdo común”, reflexiona. La ficción refleja el hecho de “vivir en una sociedad de riesgo. Es una casualidad que estemos vivos, hay desde enfermedades, riesgos o lo inexplicable. Hay gente que no se plantea esto y hay otros que estamos permanentemente pensándolo, somos temerosos, quizás porque hay cierta conciencia. Lo que más me interesa en el campo de la creación es repensar estas cuesEones”. Para ella, "nada Eene mucho senEdo, hay cierta crueldad que viene con el ser humano y no la vamos a cambiar, lamentablemente, porque sino no repeEríamos algunos errores”… … “No me meto con nada que no sea de público conocimiento. La novela toca todo el Eempo lo que no se puede hablar y dice lo que nadie quiere decir y escuchar”, dice… … Ni `cool`, ni introspecEva, ni eróEca, ni de moda. Vera Fogwill es visceral en su novela, es “políEcamente incorrecta” y es en el momento de la vergüenza del papelón donde se deEene y dice: “sé que está bueno lo que estoy haciendo”.

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Best seller of the year at home, it reached the third edition in just two months and was the top of the book charts since the first days in bookstores. Inspired by a case of true crime La virgen en tus ojos tells the story of two girls who are inseparable friends, of the killing of one of them and of the accusation of guilt that weighs on the other one. Agent Juánez, considered a true "killer hunter", leads the investigation convinced of the innocence of the main suspect. A crime that affects the high society, divides public opinion, and puts justice in checkmate. A secret that emerges after twenty years through the eyes of a child raised and educated to be a God. A novel that keeps the reader glued to every page. Book teaser: www.youtube.com/watch?v=fBQMg8c95Ns Charts: http://www.diversica.com/cultura/archivos/2012/11/loslibros-mas-leidos-xv.php !

Florencia Etcheves was born in Buenos Aires in 1971. Journalist specializing in crime news, she’s in charge of the broadcasting of the most egregious cases in the news and producer of "Cámara of crimen", by the Argentinian master of the genre Enrique Sdrech, she co-hosts the newscast "Todo Noticias" and has her own hosting in Canal 13 . She received the Martín Fierro Award for the best journalistic work for two consecutive years in 2010 and 2011. She is coauthor, along with Liliana Caruso and Mauro Szeta, of two journalistic style books: No somos Angeles (2007) and Mía or fría de la tumba (2009), in which she develops four case studies on gender violence. La Virgen en tus ojos, is her first novel.

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Anan María Bovo | Rosas Colombianas (Colombian Roses) Emecé | Buenos Aires | 2008 | 256 pp. | ISBN 9789500433396 2nd ed. paperback Booket, Planeta, Argentina, 2011 “My daughter snoozed on my lap while I was drowning on the couch slumbered by the coffee plantation’s mood. ‘Cause I was enjoying everything of that soap opera.” For eight months, when she wakes up, Inés, a movie critic who lives in Buenos Aires, is certain of one thing: between 3 p.m. and 4 p.m. she will feel fine. It’s time to watch Coffee, with the scent of a woman – a soap opera which takes her off from the forthcoming divorce. From the main character of the colombian tv show Inés learns some habits to deal with the rest of the day’s sadness. The Colombian roses turn into the key of her own life: they were the flowers that the TV series’ heroine held in her bride’s bouquet while Inés marriage is withering and the last episode coincides with her separation. At the end of the melodrama, in which the character of Gaviota get married to her “prince charming”, Inés discover the beauty of that roses. From that moment on they become necessary to her and every week she goes to the flower market to buy and take them home. Watching them bloom vigorously makes her desire happy endings for every new adventure. The vicissitudes of the show’s heroine, a coffee picker who runs town bound to change her fate, give Inés the will to build her divorced woman identity with a reversed path. She will get back to the origins: her Pampa’s hometown, the grandfather’s village in the Almería Desert and the other grandfather’s village in Piemonte, Italy. Ever looking for a happy end.

Ana María Bovo manages to convey in this novel the grace and talent that characterized her as a storyteller. Rosas Colombianas tells a passionately human story full of shades and revelations in which cheerfulness, pain, dreams, disillusion are following one another with the same naturalness of life itself. Ana María Bovo was born in San Francisco, Córdoba (Argentina) in 1951. She is actress, teacher, storyteller, and stage director. She won several Argentinean prizes and awards as the ACE (Associación Cronistas del Espectáculos) for Emma Bovary, Así da gusto and Manì con chocolate. In 2002 she published the third edition of Narrar, oficio trémulo (conversaciones con Jorge Dubatti), in 2008 Rosas Colombianas (in 2010 the pocket edition), in 2010 the audiobook Cuentos de humor y amor and the short novel Guiso de plumas in the anthology Historias de Guardarropa. Her website is www.anamariabovo.com.ar

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Besar al sapo tells the story of Soledad, a woman in her forties, married without children, who lives a frustrated life. Growth with the myth of Prince Charming and the eternal love in a bigoted and narrow climate, the protagonist discovers, just walking out through the doors of the church, to have been swindled by the man who seduced her and taken her to altar: indeed heâ&#x20AC;&#x2122;s a despot, an obsessive psycho, who soon proves his phobias and his dislike for children. She spends her days in a boring and stifling routine marked by a job for which she is overqualified and by a denigrating couple relationship until she meets again her childhood friends. In their monthly meetings, the women pitted those arguments that any attentive ear might feel if accosting with discretion to a all women table: marriage, sex, infidelity, masturbation, homosexuality... And through these chats, Soledad discovers not to be the only one to suffer a suffocating marriage. The fatal conclusion to which will come the five mates is that, conversely to what happens in the story, their adorable husbands have turned into frogs and not because of a spell. Narrated with a nimble and direct prose, Besar el sapo is a lively novel about the female universe, engaging and spiced with a touch of drama. Blog www.eblog.com.ar/5488/besar-al-sapo/ Interview on Youtube www.youtube.com/watch?v=xQg0j59lQFE

Sandra Prieto was born in 1964 in Buenos Aires. She has a degree in Nutrition Science and English Translation. The passion for writing led her to write various newspaper articles for educational magazines and a series of poems published in "Intercountries" magazine. For her eloquence and ability as a teacher she has been often invited to give lectures on nutrition and health in various professional associations. â&#x20AC;¨

Besar el sapo is her first novel.

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The graphic novel of Las Hortensias - The Daisy Dolls -, the most famous short tale of Felisberto Hernández in which a seductive dolls unleash the love of a bizarre collector, illustrated by Renzo Vayra. Las Hortensias (The Daisy Dolls) tells the story of Horacio, a collector of more than real women size dolls who, with the help of a team of costume designers, set designers, musicians and writers, stages a series of tableaux vivants. The scenes are accompanied by a piano player in a tuxedo - maybe a cameo by Felisberto himself, due to his past as a pianist in the silent movies theaters -. The silent spectators of the shows are the submissive servant Alex and Horacio’s wife, María Hortensia, which bears the same name, as the reader will discover later frighteningly, of the favorite’s doll. The unhealthy habit of Horacio will become even more morbid. The initial similarity with his wife, obtained in the doll by reproducing the skin color of the woman, will add more and more perverse follies to the obsession of the protagonist, which will eventually make Hortensia a complete erotic creature.

“A vision of such startling beauty that it flares up like an old-fashioned phosphorous match and illuminates our whole lives.” Francine Prose

“Excellent... miraculously alive... wonderful.” The N. Y. Times Book Review

“Poetry that transforms the ordinary into the uncanny.” Bookforum

“The voice is unlike anything one has come across anywhere in literature— in touch with profound chambers of the mind.” Ilan Stavans, The Nation “A giant of Latin American writers [is] well served by this absorbing translation of some of his most acclaimed works... luminous.” Publishers Weekly

«Lonely in his Uruguayan home, Felisberto does not respond to evident inﬂuences and lives his life withdrawing into himself and caring only about the internally ques>ons which lead him to indiﬀerence and neglect in everyday life.» Julio Cortázar Felisberto Hernández (20th October 1902 Montevideo, Uruguay - 13th January 1964, Montevideo) was one of the most original Latin American short-story writers. Hernández is known for his bizarre tales of quietly deranged individuals who inject their obsessions into everyday life. Hernández became a kind of cult figure not only because of his writing but also because of his eccentric life. Born into poverty, he was a self-taught pianist who earned a living playing in movie houses during the silent era. From 1925 to 1931 Hernández published four collections of stories whose chief interest is that they manifest themes and techniques that were to mature in his later work. During the Forties an editor who was his friend published two childhood memories novels Por los tiempos del Clemente Colling (1942; By the time of Clemente Colling) and El caballo perdido (1943; The lost horse). Those two books attracted the attention of literary circles, but the stories that brought him a measure of recognition appeared in Nadie encendía las lámparas (1947; No One Turned On the Lamps) and La casa inundada (1960; The Flooded House). Hernández's masterpiece is the story Las hortensias (The Daisy Dolls), a fairly lengthy short story which is one of the classics of 20th-century literature.

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A feature of his stories is the impassive observation of absurd occurrences by several anonymous characters who are really the same person. The chief preoccupations of this character, often the narrator, are objects, women, and music. Failing to learn shorthand, Hernández had invented and refined his own shorthand system. Between 1946 and 1948 he lived in Paris, with a grant from the French government. Presumably, he wrote Las hortensias during his french period. It was his only novel written in the third person and is dedicated to his third wife (he was married four times and had two daughters) with the name by which she was known in Uruguay: María Luisa de Las Heras. Her real name was Africa Las Heras, a famous KGB colonel born in Ceuta, Spain, who fought in the Spanish Civil War, where she became a Soviet spy. A double life that Hernández did not ever suspected. He died in Montevideo January 13, 1964. Tierra de la memoria (Land of memory) was published posthumous and unfinished in 1965, in the reissue of all his works. Hernández was such an innovative author that he is admired by other writers. Because of his innovations he is considered a precursor of more famous writers such as Julio Cortázar, Carlos Fuentes, and even Severo Sarduy. He is, in many ways, even more daring than them. “A writer like no other,” as Italo Calvino declares, “like no European or Latin American. He is an irregular, who eludes all classifications and labellings — yet he is unmistakable on any page to which one might randomly open one of his books.” Renzo Vayra was born in 1971 in Montevideo, where he currently lives. Graduated from the Escuela Nacional de Bellas Artes, he is an artist who since 1988 has regularly worked with several Uruguayan newspapers and magazines, as “Guambia” and “La Prensa”. He has exhibited his creative works in several collective and individuals art exhibitions. He works as a comic artist too and has adapted and illustrated comic from the stories of writers like Horacio Quiroga (Tres cuentos de la Selva, Trilce - 2010), Serafín J. García (Las Aventuras de Juan El Zorro - Grupo Belerfonte 2005 - and Las Aventuras de Juan El Zorro: La Venganza del Tigre - Grupo Belerfonte 2006) and Juan Carlos Onetti (his illustrated adaptation of Un sueño realizado, won the second prize on Onetti Uruguayan comic contest, promoted in 2009 by the Ministry of Culture of Uruguay). He has illustrated the children novels La leyenda de Laridia (The Legend of Laridia - Trilce 2012), Cuando Nicasio duerme, nadie duerme (When Nicasio sleeps, nobody sleeps - Ediciones de la Banda Oriental 2012) and the comic book M’hijo el deudor (2008). He is also the author of Postales del Ark and Historias de espejismos (2007), Encuentro en Sáked (2008), El altillo de la memoria (2009).

Press & Blog http://historico.elpais.com.uy/08/01/19/pespec_325353.asp http://archipielago1045.blogspot.it http://lasaventurasdesofiahauf.blogspot.it http://arkcromos.blogspot.it http://renzovayradesign.blogspot.it

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The Daisy Dolls Timeline

1949 - Las Hortensias (The daisy dolls) were first published in Spanish, in the magazine Escritura and on its own as a short novel. Montevideo, Uruguay. 1967 - Las Hortensias was reissued in Spanish by Editorial Arca. Montevideo, Uruguay. 1972 - In Portuguese with a foreword by Cristina Peri Rossi, Editorial Americas. 1974 - Editorial Lumen, Barcelona, Spain. 1974 - Nessuno accendeva le lampade, Giulio Einaudi Editore, Torino, Italy, foreword by Italo Calvino and translation by Umberto Bonetti. 1975 - Éditions Denoel foreword by Julio Cortázar, translation by Laure Guille-Bataillon, introduction by Jules Supervielle 1976 - Editorial Calicanto, Buenos Aires, Argentina foreword by José Pedro Diaz. 1981 - Works, Editorial Arca, Calicanto Montevideo, Uruguay. thereafter several editions. 1982 - Las Hortensias 2nd edition Editorial Lumen, Barcelona, Spain. 1983 - Works, Twenty-First Century editors.,Mexico. 1985 - Felisberto Hernández, novels and stories, Biblioteca Ayacucho Caracas, Venezuela. Selection, notes, chronology and bibliography of José Pedro Diaz, Foreword by Julio Cortázar. 1985 - Die Hortensien, Suhrkamp Verlag, Frankfurt, Germany, Epilogue by Julio Cortazar 1993 - Piano Stories, Marsilio Publishers, New York, USA, translated by Luis Harss, introduction by Italo Calvino. 1997 - Oeuvres completes, Éditions du Seuil, introduction by Gabriel Saad, translation by Laure Guille-Bataillon Bataillon and Gabriel Saad prologue Italo Calvino. Paris, France 2004 - Colección Confabuladores, Autonomous University of Mexico, foreword by Rose Corral, Mexico DF, Mexico 2006 - Die Horteinsien under the title Die Frau, die mir gleicht Suhrkamp Verlag, Frankfurt, Germany, translated by Angelica Ammar, Anneliese Botond and Sabina Giersber, afterword by Angelica Ammar. 2009 - Las Hortensias, with a foreword by Julio Cortázar, (In 2013 5th edition) El cuenco de plata, Buenos Aires, Argentina. 2011 - The daisy dolls, prologue by Ana María Hernández, Florida, Stockcero, United States 2012 - Grua Livros, San Pablo, Brasil with Yaugurú, Uruguay.. Bilingual edition in the collection Boca a boca. 2013 - Las Hortensias Comic, drawn by Renzo Vayra, El cuenco del plata, Buenos Aires, Argentina. Upcoming 2014 - Piano Stories, New Directions, New York, United States.

PRAISE FOR THE BARCELONA MURDERS • A stunning cocktail: a classic police man, a Larssonian plot, thriller in the style of Dan Brown, vice and political corruption, and the excesses of trash TV. Sáinz de la Maza assembles all these elements with great craftsmanship. Ernest Alós, El Periódico de Catalunya daily • The criminal Barcelona is growing. A cross between a mystery and a thriller, reminiscent of Seven, this is the first incursion of Sáinz de la Maza into the genre. And he takes it seriously. Xavi Ayén, La Vanguardia daily • An inquiry into the contradictions of Catalan society set in the landscape of modernist architecture. A fastpaced thriller driven by Gaudi. Laura Fernández, El Mundo daily • Action-packed and unusual thriller with modernist Barcelona as a backdrop. A modernist mosaic where no detail has been omitted. David Morán, ABC daily • My admired Hannibal Lecter is now joined by the murderer of La Pedrera. Fascination with the dark side of the human mind. Sáinz de la Maza has created the ideal scenario, without subterfuge. It could be carried out any day… Patricia Rubiera, www.libros2.ciberanika.com • A brilliant novel with a classic feel. Unrelenting approach, social criticism. Sáinz de la Maza builds his characters and endows them with soul, especially the explosive police inspector Milo Malart. A surprising literary debut.. Jordi Milian, www.illadelsllibres.com • Barcelona bursts into flames at the hands of Aro Sáinz de la Maza. An extremely psychological novel. A real descent into hell. Far removed from hackneyed plots, with a magnetic protagonist. Laura De Andrés, www.llegirencasdincendi.es • It is a scathing critique of the pre-Olympic Barcelona, of abuse, and of corrupt politicians and crooked policemen. Rosa Mora, ELPAIS.com • If the beginning is everything in a novel, that of the Barcelona Murders could not be more promising. Ten titles recommended for the Madrid Book Fair, www.abc.es • It’s a huge novel that is excellently built from start to finish. Its more than 500 pages are needed to explain a plot that takes your breath away. It was a very positive surprise, and I hope it is the beginning of a longlasting series. Comment by a specialist reader, FNAC bookshops

THE BARCELONA MURDERS Aro Sáinz de la Maza Meet Barcelona’s new fictional crime investigator: Inspector Milo Malart. Bright, unpredictable. Changeable like the phases of the moon. Godless, lawless, effective. A keen judge of the human condition. His defining feature is his loyalty. There are many ways to die, but being burned alive is surely one of the most horrifying. A well-known politician and financier of Barcelona is found hanging in flames on the Pedrera, a building created by the Catalan genius, Gaudí, after being abducted. The autopsy reveals that the victim was tortured by going without food or drink during the five days of his captivity. This detail puzzles the authorities, while the investigators find themselves at a dead end. The judge handling the case decides to resort to desperate measures and Milo Malart, unorthodox inspector of a dark-talent, currently on reprimand for striking a superior, beset by debt, and suffering a depression due to the suicide of his nephew, is reinstated to the Serious Crimes Department to help clarify the brutal crime. However, after analyzing the evidence, he formulates a theory that triggers an even greater confusion. He suspects that the police are facing a serial killer, who is already focusing on new victims. At first his ideas are met with disbelief and scorn, but all too soon they are confirmed. Corruption, the select members of the inner circle of the city, past crimes, invisible citizens, fate and punishment ... for every riddle that is solved, another, even more disturbing, appears. Why did the murderer choose Gaudí scenarios to expose and burn his victims? Is there a link between the psychopath and the work of the great architect? Sensing that someone capable of such cool and effective executions must have killed before, Malart stumbles upon a gruesome discovery: apparently an invisible murderer has been operating in the city for twenty years, claiming a victim a year, and always on the same date: June 10th, the anniversary of Gaudí's death. A disturbing sensation invades the inspector: the murderers are related. However, their profiles and modus operandi are completely different, giving rise to a multitude of questions. The case is like a huge Gaudí mosaic and the motives remain hidden. Only someone able to descend into madness can stop the nightmare. Malart directs the inquiries in all directions in order to pin down the background of the killer and find the piece that makes the disturbing puzzle fit. The plot becomes increasingly dense, full of hints and dead ends, when the judge in the case, Malart’s friend, disappears under circumstances identical to those of the previous victims. Malart knows the next murder will take place on Sunday 25th July and he suspects where ... but he may be wrong. There is no time for doubts. In a desperate countdown, he is prepared not only to risk his life, but also his sanity in order to stop the killer. His reward: forgiveness, and perhaps, a glimmer of hope.

Aro Sáinz de la Maza (b. 1959) lives in Barcelona, a city that habitually serves as a setting for his novels. He currently combines his writing career with that of an editor and proofreader. The Barcelona Murders which features inspector Milo Malart is his first crime novel. The book received a Special Mention of the RBA International Crime Novel Award. Sáinz de la Maza is already hard at work preparing the second installment of the series. SALES POINTS • Mediterranean noir: Barcelona is setting that most readers will like and appreciate. Beautiful architecture, relaxed atmosphere, sun, beaches… But like any modern city, it has its dark side. • Powerful and complex narrative. The plot is riddled with twists, enigmas and chiaroscuro. A frenzied pace leads this unique blend of crime fiction and thriller inexorably to a bold outcome. A is page-turner that grips you from the start and hardly gives you any respite to the end. In a word: fascinating. • Current day Barcelona is contrasted with a chilling parallel from the Barcelona of early last century. Anarchists were then faced with social injustice, as today the anti-government protesters come up against the law enforcement. Crisis is the breeding ground. An explosive cocktail that is repeated one hundred years later. Does everything have to change to remain the same? • The structure of the novel recalls the architecture of Gaudi. The preference is for curved lines, Mediterranean light, attention to detail and symbolism. Combined with high precision machinery, it achieves a hypnotic modernist mystery.

The Blind Spot (El ángulo muerto, crime novel, 2016)

“That was the real tragedy: that incompetent politicians were going to destroy a generation, taking their future away.” Milo Malart was facing two murders and a gruesome massacre of dogs in Barcelona. Human cruelty has no limits. Someone is carrying out macabre rituals in playgrounds, provoking outrage in the city. And things could get worse. The body of a college student is found, strangled in a forest in Barcelona. When a second victim appears, the case takes on a whole new dimension. While a cold front hits the city, and the rain falls relentlessly, the acerbic inspector Milo Malart tries to untangle a series of crimes in the midst of a city that has been devastated by the havoc wreaked by the crisis, with unemployment and corruption as a backdrop. A pitch-dark crime novel that shows the best and the worst of a society drowned in its successes and frustrations.

second installment of the series.

Aro Sáinz de la Maza (b. 1959) lives in Barcelona, a city that habitually serves as a setting for his novels. He currently combines his writing career with that of an editor and proofreader. He started the devastating series starring inspector Milo Malart with The Barcelona Murders (RBA, 2012), his first crime novel, which received a Special Mention of the RBA International Crime Novel Award. The outstanding popular reception and press reviews was reaffirmed with the publication of the novel in France (Le Bourreau de Gaudí, Actes Sud, 2014), where Malart is considered with the classics of the genre and with the works of prestigious contemporary writers, such as Jo Nesbø and Philip Kerr. The Blind Spot is the highly anticipated

With The Blind Spot, Aro Sáinz de la Maza establishes himself as one of the great Mediterranean noir writers.

REVIEWS "The extraordinary The Blind Spot by Aro Sáinz de la Maza, the second novel in the series featuring inspector Milo Malart, anxiously awaited by desperate fans, signals the return of this detective living in the seaside neighbourhood of Barcelona but whose investigations encompass the whole of a decaying Barcelona. In The Blind Spot nothing is what it seems and this time Malart and the usual homicide team will have to deal with the death of a poor girl appeared in Collserola and with a lawyer in his home, as well as a macabre murderer of dogs. All this in a wintry Barcelona where Malart's family problems are accentuated and in which his relationships with women grow bitter. Luckily a black German shepherd helps put a note of humanity in a very black novel, full of despair, which establishes Aro Sáinz de la Maza as one of the best Spanish writers of the genre with just two novels under his belt. ... Devastating, hurtful, so poignant that at times you have to stop reading to cry or to think about how lucky we are to be able to eat three times a day and live under a roof. Sáinz de la Maza has managed to show us the horror in its deepest aspect and the horror has nothing to do with monsters and psychopaths or yes, if we consider the system as such. The horror has to do with the thin red line that can put us on the brink of the precipice, it has to do with a limit that leads to despair, to the street, to misery. In this novel Sáinz de la Maza gives the reader the taste of moral and human degradation making him swallow it without water, bruising the throat and afflicting him with a feeling of suffocation as the tears held back reach the soul. Damn, it's a great novel. The construction of the characters is perfect. Malart shows all his ambivalence, but also the rest of the team and of course all the other characters, starting with the first victim, Carolina Estrada, a magnificent creation. Then we have the plot and its twists which is very interesting without doubt. But where Sáinz de la Maza stands out is in the very ambition of writing, in the extremely well-constructed sentences, so perfect, in that perfect description of sea colours and states of mind, in that capacity to describe the darkness of a whole city that is dark blue and which serves as an analogy for an entire society. It is in the writing where Sáinz de la Maza demonstrates himself to be at a higher level and shows that in the world there are only two types of literature: good and bad. His is on the upper level of the first category. The wait has been worth it." Bearn Black, Sebastià Benassar It fascinated me totally... An absolutely addictive book which I passionately recommend! TV2 Vespre (Spanish State TV), Carles Lúria

Finally, and after a wait of three years, we can read the next instalment starring Milo Malart, the atypical inspector of the Catalan police, we already met in The Barcelona Murders. They say that sequels were never good. Well, this is not the case here. The time frame is more focused, the characters have matured, and Aro Sáinz de la Maza has delivered an impeccable story, absolutely flawless. The author takes us through the whole city. A Barcelona that ranges from the blue collar neighbourhoods to the places where the powerful gather. A Barcelona that he often covers by foot because the protagonist can't stand the smell and the constrictions of buses and the metro train. He leads us to parks and gardens, to nooks and crannies that are perfectly recognizable, to buildings full of people stricken by the crisis, which is the true protagonist of the story. The crisis that leads people to lose any vestige of sanity and devote themselves to committing otherwise unthinkable crimes. The author conveys the anguish the characters, their obsessions, their limitations, their misfortunes, their fears and their small joys. And the rain, the other protagonist of the story, which falls steadily and unrepentantly like a plague, as a punishment. Milo Malart is back and is here to stay. Long live the inspector. Propera parada cultura, Charo González Herrera This is a great book, excellently written, powerful, with lifelike characters and a well drawn plot ... a fierce story about life and death, desire, violence, prostitution, wretched human beings and ultimately , life. Novela más que negra y policíaca, José Sevilla

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Ragna Sigurðardóttir | Hið fullkomna landslag (Il paesaggio perfetto) 233 pp. Mál og menning, Reykjavík, 2009.

Tradotto in inglese da Sara Bowen per le edizioni USA, Canada, UK e India. Audiolibro in inglese: http://tinyurl.com/cavxwnb

Any lover of art or mystery will find this novel perfectly satisfying. Booklist

Hanna, una storica dell’arte, ritorna in patria dopo un lungo soggiorno di lavoro ad Amsterdam per dirigere una sezione sperimentale del museo di Reykjavík. La bolla economica deve ancora scoppiare, l’Islanda gode di un benessere eccezionale e alcuni ricchi uomini d’affari gonfiano il loro ego a suon di donazioni artistiche, anche se non sembrano prestare particolare attenzione all’arte in sé. Il museo di Hanna ha appena ricevuto una donazione di questo tipo, un panorama dei primi del XX secolo intitolato le betulle a firma di un noto pittore islandese del valore di otto milioni di corone (mezzo milione di euro). L’autenticità dell’opera però viene messa in dubbio e la donna, in compagnia del collega Steinn, viene coinvolta in una tortuosa indagine che conduce alle origini dell’opera. Sul loro lavoro d’indagine però grava l’ombra di una commistione di interessi monetari e rapporti delicati tra il mondo della finanza e quello della cultura. Quello che potrebbe essere un semplice caso di falso artistico si rivela invece un’intricata tela di interessi più o meno occulti. Il lavoro di Sigurðardóttir parte dall’accurata conoscenza dell’autrice del mondo dell’arte e l’ambientazione viene usata per accendere i riflettori sull’Islanda dell’effimero boom finanziario e sugli inevitabili cambiamenti che avvengono in un popolo quando il suo retaggio culturale viene sminuito a scapito di altri interessi.

Ragna Sigurðardóttir (1962) è considerata in patria come una delle migliori scrittrici della sua generazione. Ha studiato arti visive e ha lavorato nel campo dell’arte fino al 1996, anno in cui ha deciso di dedicarsi esclusivamente alle scrittura, sia come romanziera che come critica d’arte per i giornali Morgunblaðið e Fréttablaðið. Il suo primo romanzo, Borg (Città) è stato nominato all’Icelandic Literature Prize nel 1993, mentre Hið fullkomna landslag, penultimo di sei, è in corso di traduzione in in inglese.

Stampa "Il Paesaggio perfetto mostra e dimostra che Ragna Sigurdardottir è uno delle migliori scrittrici della sua generazione." (Frida Bjork Ingvarsdóttir) "Ragna traccia un quadro dettagliato del contesto e dei personaggi e lo stile è particolarmente adatto a descrivere i dipinti dei maestri del passato... Un argomento che le è familiare.” (Inga Rögnvaldsdóttir / bokmenntir.is) "Un libro ben scritto e ben fatto ... semplice in superficie, ma con una profondità che emerge durante la lettura e resta impressa nella mente del lettore anche dopo." (Kolbrún Bergþórsdóttir / Kiljan) "La storia è allo stesso tempo semplice e complessa. Lo stile è preciso e fine, la creazione del personaggio principale è caratterizzata da un notevole acume psicologico. Il libro è emozionante... " (Gudmundur Andri Thorsson) "Un romanzo meraviglioso di Sigurdardottir, il paesaggio perfetto, che viene descritto come un quadro." (Arni Matthiasson/ Morgunbladid) "Questo è un libro ben scritto, finemente lavorato e raffinatamente costruito." (Th. Halldorsson / Morgunbladid) "Il paesaggio perfetto è un libro interessante per tutti coloro che amano le arti, ma anche per chi vuole che semplicemente curiosare nel mondo dell’arte. Semplice da leggere, ben scritto ed emozionante." (midjan.is)

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Shehan Karunatilaka | Chinaman (Il lanciatore ambidestro) pp. 416 | Cape - Random House | London 2011 | ISBN 9780224091459 1st English edition 2011, 2nd English edition 2012. Oltre 10.000 copie vendute in Inghilterra. Diritti USA venduti a Graywolf Press.

Qualcuno si ricorda delle sue impressionanti statistiche, qualcuno della sua arroganza in campo. C’è chi dice avesse truccato le partite e chi sia stato cacciato perché di etnia Tamil. Ma chi era davvero Pradeep Mathew? E cosa ne è stato di lui?

Lo scrittore e giornalista sportivo in pensione WG Karunasena sta morendo. Passa i suoi ultimi mesi ubriacandosi, rendendo infelice sua moglie, ignorando il figlio e cercando qualche traccia di Pradeep S. Mathew, un lanciatore, misteriosamente scomparso che WG considera il più grande giocatore di cricket che abbia mai messo piede sulla terra. Nella sua ricerca di questo genio incompreso, WG troverà sulla sua strada un allenatore con sei dita, un bunker segreto sotto uno stadio famoso, un signore della guerra delle Tigri Tamil e alcune sorprendenti verità sullo Sri Lanka, sullo sport e su se stesso. Ambizioso, divertente e incredibilmente originale, Chinaman (Il lanciatore ambidestro) è un libro sullo sport e sull’Asia, sulla storia dell’Asia moderna attraverso lo sport. Salutato dalla giuria del Gratiaen Prize come “una delle opere più immaginifiche delle letteratura contemporanea asiatica: un libro sorprendente”.

★Salutato come il primo vero grande romanzo cingalese, Chinaman è un debutto pieno di invenzioni, ambizioso e scritto con maestria. ★La storia di un dissoluto giornalista scrittore alla ricerca della leggenda sportiva Pradeep Mathew - un lanciatore ambidestro (in gergo sportivo un cinese) dalla carriera tanto sfavillante quanto breve scomparso nel nulla all’inizio degli anni Novanta. ★Un romanzo che ha messo a soqquadro lo Sri Lanka, l’India e il mondo dello sport. Premi e riconoscimenti ★Vincitore del Commonwealth Book Prize. ★Vincitore del DSC Prize for South Asian Literature. ★Vincitore del Gratiaen Prize.

Commenti

★'Una folle delizia ambidestra. Un narratore ubriacone e inaffidabile trascina il lettore nelle meravigliose possibilità letterarie dello sport.' (Michael Ondaatje)

Shehan Karunatilaka è nato in Sri Lanka in 1975. Ha studiato alla Massey University in Nuova Zelanda, prima di intraprendere la carriera di copywriter pubblicitario. Ha lavorato per diverse agenzie in Sri Lanka, Londra e Singapore e le sue campagne hanno vinto numerosi premi. Shehan suona il basso nella band Independence Square. Chinaman, il suo primo romanzo, è stato pubblicato in inglese per la prima volta in Sri Lanka, dove ha vinto il Gratiaen Prize come miglior romanzo dell’anno per poi essere ripubblicato da Random House per il mercato anglosassone.

Rassegna Stampa

★'Il miglior romanzo sportivo che abbia mai letto. L’amore di Shehan per lo sport è pari solo alla sua abilità di narratore. Un romanzo in grado d’incantare come il miglior lanciatore in gioco. Se amate lo sport, leggete questo libro, se amate i romanzi leggete questo libro, se amate entrambi, questo è il romanzo per voi.- (Mohammed Hanif)

★'Per quanto in là si possa spingere la narrazione, questo romanzo è incredibile e letterariamente perfetto... Lirico, poetico e con uno stile brillante che ha catturato fin da subito la mia attenzione di lettore esigente. Una vera gemma... Ve lo raccomando anche se non vi piace il cricket... Quando l’ho finito, l’unico problema era che volevo non fosse finito...' (Robert James, TheBookbag.co.uk)

The Observer, Tishani Doshi ‘Karunatilaka has a real lightness of touch. He mixes humour and violence with the same deftness with which his protagonist mixes drinks …What is most remarkable about this novel... is how fact and fiction are manipulated … is a great novel, and it is most certainly Sri Lankan’ The Independent, Salil Tripathi

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‘A Great Cricket Novel. For a game without much great fiction, that's a reason to applaud with drums – and forget the rules the marshals impose at Lord's’ The Times, Kate Saunders ‘It’s funny and original, extremely revealing about Sri Lanka, and as for the cricket, in the author’s own words: “If you can’t understand why anyone would watch, let alone obsess over this dull game, then this is the book for you.” Brilliant’ Daily Telegraph, Steve James ‘At an early stage, I will confess that I was very close to typing ‘Pradeep Mathew Cricinfo’ into Google just to check whether there was indeed a Sri Lankan cricketer of that name … that may be a recommendation of the book; it may be a condemnation. But I have always had a soft spot for Sri Lankan cricket” Financial Times Ludovic Hunter-Tilney ‘Chinaman’s free-wheeling, zany tempo is part of its charm too. Its picaresque action, mainly based in Colombo and narrated in short bite-sized chunks, gives a vibrant comic pulse to Sri Lankan life, even though Karunatilaka’s portrait of the country is scathing … it confirms that cricket, a game that is largely played in the head and inhabits a bizarrely detailed parallel world to our own, is ideally suited to the purposes of fiction’ Guardian, Kamila Shamsie ‘The strength of the book lies in its energy, its mixture of humour and heartwrenching emotion, its twisting narrative, its playful use of cricketing facts and characters, and its occasional blazing anger about what Sri Lanka has done to itself … if the sweetest sound you've ever heard is leather on willow, if some of the most exciting moments of your life have consisted of watching a five-day match end in a draw, if the most important question around the partition of the subcontinent is "who would have made it into Undivided India's cricket team in any era?", if your mind keeps returning to that one extraordinary spell by a bowler (say, Mohammad Zahid to Brian Lara at the Gabba, 1997) … then this book could be the best thing to happen to your life since the Ashes/World Cup/away series win against the best team in the world’ South Wales Echo ‘A hugely entertaining read.’ The Sunday Times ‘confident and poignant debut.’

Readers’ reviews

The Independent, David Evans 'Al centro del notevole debutto di Shehan Karunatilaka c’è WG "Wije" Karunasena, uno scrittore e giornalista sportivo cingalese. Dopo anni di baldoria a Colombo, i medici dicono a Wije che deve rinunciare alla bottiglia altrimenti morirà entro pochi mesi. Il problema è che Wije non può scrivere senza un bicchiere di araq che lo scuota e lo ispiri e prima di lasciarci le penne decide di scrivere un libro che ne riscatti la reputazione di ubriacone inaffidabile: una biografia di Pradeep Mathew, un talento sportivo sublime noto per il suo lancio speciale, la cui carriera si è conclusa a causa di “una miscela perniciosa di politica, razzismo, corruzione e sfortuna bella e buona”. Sordo alle proteste della moglie e degli amici, Wije decide di finire il progetto prima che il suo fegato lo faccia fuori, insistendo sul fatto che "a differenza della vita, lo sport ha la sua importanza". Chinaman - il titolo fa riferimento alla tecnica di lancio di Pradeep in grado d’imprimere alla palla una traiettoria folle che sbigottisce i battitori - è un romanzo sullo sport, vale a dire un libro sull'abisso che separa il fallimento dalla grandezza. Ma è anche un romanzo che parla di amicizia e di matrimonio, di alcolismo e dello Sri Lanka in guerra civile (come Wije osserva ironicamente, i giornali pubblicano la conta dei morti in prima pagina e il punteggio del cricket nella spalla). Leggendolo sembra di essere al cospetto di un incrocio tra Borges e Simon Barnes, La narrazione di Wije utilizza il gioco come un prisma attraverso cui osservare il resto del mondo, tanto quanto per dare un resoconto divertente e commovente delle sue lotte personali.

★This is an outstanding novel - one that puts a Sri Lankan author, for the first time, on a level with the best contemporary Indian writers. It Non mi piace il cricket, ma mi è piaciuto questo libro: è il is ostensibly about cricket - indeed is about cricket - but you don't romanzo più divertente, originale, elegante e decisamente need to share the author's obsession with his country's national sport ben scritto che abbia letto nell'ultimo anno '. to respond to his absorbing shaggy-dog story of the legendary "Chinaman" bowler, Pradeep Matthew. This is a book with a flawless ear for language and one that evokes the whole character of Sri Lanka, its dire politics and blighted history, and yet is drenched in affection for the island. Not that you need have any previous interest in Sri Lanka, any more than cricket. To describe it as "the great Sri Lankan novel" - as the publishers do - is something of an understatement. It's one of the best novels you'll read - any time, and from any country. (Amazon) ★I won't say this is my favorite novel, nor one of my favorites. I will say I had more fun reading it than almost any other book I can think of. I am a huge sports fan, but I don't know anything about cricket. The way this book approaches the sport makes it universal for any fan. The characters, the emotions and most of all the foreboding sense of doom of the underdog fan feels so familiar, and comfortable, to me. But there is more to this book. The search for Mathew is funny, smart, and maddeningly twisted in its plot. It's an enjoyable detective story wrapped in a look into a (to me) unfamiliar sport in a far away country and culture. Honestly, how could I not like it? (Goodreads)

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â&#x2DC;&#x2026;Failed Sportswriter, failed dad, irresponsible husband and alcoholic W.G Karunatilaka is convinced during the last years of his life, that one Pradeep Sivanathan Mathew who made a handful of appearances for Sri Lanka was and will always be one of the greatest cricketers to ever hold a cricket ball. Armed with this conviction and a bunch of buddies, Karunatilaka embarks on a quest to uncover the truth behind the disappearance of this gem of Lanka and the reasons for his exploits purged from all official stats. The exploration leads him to an LTTE warlord, cricket administrators of the Sri Lanka Cricket Board, young damsels, reserve cricketers and even the discovery of an underground dungeon with eavesdropping equipment below one of Colombo's famed cricket grounds. Written with irreverence, a tangy feel and a thin line between fact and fiction, this masterpiece from Sri Lanka is simply unput-downable. (Goodreads)

AUDUR JONSDOT T IR (b. 1973) is a writer of phenomenal scope and versatility. She has received numerous awards for her

R E V I E W S O N T H E PE O PL E I N T H E B A S E M E N T

works. Her novel, The People In the Basement, received The Icelandic Literary Prize and a nomination for the Nordic Council Literary Prize.

“… she has a voice of her own…”

politiken, denmark

“The People In the Basement is suberb and enchanting.” f yens stif tstidende, denmark

www.jonsdottir.com

“The People In the Basement is a fast, tight, effective text, full of humour and satirical bite.” information, denmark “The People In the Basement is one of those novels that sink in to you. Like a mood. Like a fluctuating change of colour from dark to light. Like an unspoken wish.” jyllands-posten, denmark

“The People In the Basement ... is an extremely good novel” dagens nyheter, sweden

The People In the Basement sold to: Denmark (Tiderne Skifter) Sweden (Kabusa) Film rights sold to: Tundra Deposit sold to: Denmark (Tiderne Skifter) Sweden (Kabusa)

R E V I E W O N DE P O S I T

“ Deposit is an intense book, a story with strong references; to Iceland and Icelandic literature, to Europe and universal literature and - more importantly - this is a work that, in the form of a symbolic novel, participates, in an arresting way, in one of the most necessary discussions of present time, the question of how the rich European nations plan to care for immigrants from impoverished parts of the world and what these have to ‘pay’ to be able to stay - and enjoy the quality of life the Europeans consider themselves entitled to have.” soffia audur birgisdot tir, morgunbladid newspaper

audur jonsdottir wintersun The metropolitan police is searching for Arndis Theodors-

To make matters even worse, the relentless winter

dottir . . . she was last seen at Korpulfsstadir Centre for

storms are holding Axel, Sunnaâ&#x20AC;&#x2122;s boyfriend, hostage in

Culture last Friday . . .

a remote town in the West Fiords, leaving her aban-

Sunna is shocked when she sees the announcement on

doned with his ten year old son, whom she hardly knows.

the internet. Memories from her time as a student with Arndis in Barcelona haunt her and make it difficult

When Sunna realizes that three mysterious men are

to focus on the crime fiction writing course she is

following her around it seems as if her life is turning

supposed to be directing. On the other hand, the pre-

into a crime thriller...

Christmas rush at the publishing house where she is working has reached its peak and thereâ&#x20AC;&#x2122;s little time left to investigate the disappearance of an old friend.

As in her previous highly acclaimed award winning novels, The People of the Basement and Deposit, in Wintersun different worlds are juxtaposed and questions are set forth about values, perspectives â&#x20AC;&#x201C; and deceptions.

Secretaries to the Spirits – a Writer is Born Ósjálfrátt, novel, 2012 by Audur Jonsdottir

NOMINATED FOR THE DV NEWSPAPER’S CULTURAL AWARD 2012 THE WOMEN’S LITERARY AWARD 2012

“Will you please leave this man? The sentence assaults her ears; she can hear what grandmother is saying but how is she sup-posed to answer? If you’re completely incapable of giving any thought to yourself, will you do it for me to at least give some thought to your novel?” One day Eyja wakes up in a small fishing village in the west of the country, married to a drunkard twenty years her senior. They live in a red area, just a stone’s throw from the ruins of the houses that a recent avalanche destroyed, killing nineteen people. Strong and determined women on her mother’s side decide to get the young woman away from her newly acquired husband and send her off to another country in the company of a skiing heroine for whom the word capitulation does not exist. Fifteen years later Eyja wakes up in the same place, but this time she is back to writing in order to get a grip on the past, the fiction in life, her family, and what it means to be a writer. Secretaries to the Spirits is an interesting, funny, extraordinarily intricate and intimate story of family relations that can be so very bitter, of love that can be so painfully difficult, a story on writing, on what it takes to write a book, about all the stories life gives us and that we must prevent from falling into oblivion. 384 pp. Chapters in English available. Sold to Germany (Random House)

AUD UR J O N SD O T T IR is one of the most accomplished authors writing in Icelandic today. Four of her books have been nominated for the Icelandic Literary Prize, and it was awarded to her for the superb novel The People in the Basement, for which she was also nominated for the Nordic Council’s Literary Prize. www.jonsdottir.com

Reviews “I am struck speechless over this intricate, beautiful and funny story. I therefore simply echo my colleagues and say: A delight and a gem and a piercingly beautiful book!” Thorunn Hrefna Sigurjonsdottir / Frettabladid daily

“Jonsdottir is a great humourist – this is a very funny book in parts, it is also ironical and extremely lyrical ... This is Jonsdottir’s most mature work and certainly marks the highlight of her career so far.” Frida Björk Ingvarsdottir, Kiljan National TV

“This is a terrifically entertaining book about some very entertaining people.”

“She does this exceedingly well – how she sets fiction up against reality in such a way that you could say she is living the book while writing it. It’s very well done.”

“This is a wonderful coming-of-age story about a young woman. ‘Chick-lit based on existentialism’, it says in the book, but it would be more accurate to say that this is what women’s literature should be like. Full of humour, consideration, warmth, and variously vulnerable, but lovely, women.”

Eiríkur Gudmundsson, Kiljan National TV

Steingerdur Steinarsdottir, Vikan magazine

"One of the best novels of the year."

"A grand family saga."

Kolbrun Bergthorsdottir, Morgunbladid daily

Viktoria Hermannsdottir, DV daily

Egill Helgason, Kiljan National TV

forl agið publ ishing · br aedr aborgar st igur 7 · 101 re yk jav ik · icel and · +354 575 5600 · w w w.forl agid.is For further information please contact: Ua Matthiasdottir, ua@forlagid.is or Valgerdur Benediktsdottir, vala@forlagid.is

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