»Everything Fades Away explores various facets of violence and loneliness, and takes a critical look at issues such as intra-family relationships, desire and the imposition of motherhood, writing in the face of AI, certain assumptions about art, the commercialisation of violence, and the intrusion of social media into everyday life, whilst reiterating concerns about the environment and childhood – corrupted, abused, a central theme in the book.«
Caridad Tamayo, Latin American Literary Review

»Martha Acosta’s novel reminds us that science fiction – and, with it, the future – is a hot-button issue. Readers will not know whether the heat is because the gun has just been fired or, perhaps, whether we still have time to knock it out of the sweaty hands that hold it. Dystopias, rather than being an exaggerated reflection of a system, become accelerators of time along a particular path.«
Cubadebate

»The power of I Hope You Get Deported: A Journey Through American Dystopia lies in the interplay between the personal and the structural. Chade shows that democracies can crumble from within. And he warns that it is not the walls of institutions that protect them, but the people who inhabit them.«
Carta Capital

»Reading the book by Jamil Chade, a seasoned media professional and a master at sniffing out breaking news like no other, the stark and unvarnished portrait of the reality trumpeted in the speeches of the victorious US presidential candidate comes to life and takes on a tangible quality.«
Folha de S.Paulo

»In this book, journalist Jamil Chade describes the decline of American society. He examines everything from Donald Trump’s election campaign to the early attempts at eugenics in his immigration policy. Chade foresees a humanitarian, ethical, political and spiritual disaster.«
Valor Econômico

»Through a series of reports, the book highlights the fear amongst immigrant communities and the rise of a political climate of hatred and exclusion that disregards fundamental rights, painting a picture of the ethical and humanitarian collapse that has taken hold in the country.«
Jornal do Commercio

»During a game at school, a classmate said to Chade’s 10-year-old son: “I hope you get deported.” The remark, laden with hatred and prejudice, had an impact on the child, and on the family too. For the journalist, the incident highlighted how intolerant rhetoric, when legitimised by figures in power, becomes part of people’s everyday lives.«
Rádio Metro 1

»The book highlights the erosion of democracy in the US.«
Platô

»Collyer enriches the Chilean literary landscape and brings a fresh dynamic to it, breaking with a canon that has become somewhat monotonous. The author offers a fable, but not a moral, and turns his novel into an indispensable journey towards a new understanding of reality.«
Óscar Barrientos Bradasic

»Inspired by the glaciologists and communities currently struggling to combat the melting of glaciers in the Andes, Collyer explores this threat and its ultimately irreversible consequences.«
Alma Negra Librería

»With gripping intensity, Collyer explores the connections between industrialization, globalization, climate change, and their immediate consequences for a population that has made no contribution to their causes.«
Shortlist Contemporary literature from Chile 2025/2026

»The relationship between memory and peace, between a scar and an open wound, between forgetting and acceptance, and between resignation and hope, are clearly Collyer’s main concerns – master of his own narrative, a shrewd storyteller, he crafts the twists and turns the novel needs to build suspense and transform it into a dark thriller, with an unsettling conclusion that showcases the author’s skill.«
Latinamerican Literature Today

»A great novel , which offers a profound reflection on civic issues that transcends the purely local, by constantly crafted in exquisite prose constantly drawing attention to the universal abhorrence of torture and its horror.«
Cine y Literatura

»I read Kotopaxi as a tourist visiting Cotopaxi and, spending a night under the stars that loom over Chimborazo, felt she could never be closer to her image of the otherworldly. The voice of Kotopaxi is that of a bird, a wound and the omen of the eruption.«
Cuadernos Hispanoamericanos

»The story intertwines a scientist’s observations with the poetic voice’s reflections on migration, identity and the political and colonial history of her equatorial country. The narrative culminates in a ‘reverse eruption’ of the volcano, where the elements return to their source, allowing for continuity — what Mafe calls the ‘Andean reset’.«
Zenda

»I would like to recommend the Ecuadorian author Mafe Moscoso, who you might not know but who is well worth discovering. The Saint is a collection of wonderful stories written in truly careful, sensual, volcanic language.«
Cristina Rivera Garza, Pulitzer Prize winner 2024, in the reel „Bibliotecaria por un día“ (Instituto Cervantes Budapest)

»A very beautiful and honest book that reflects — with humour, tenderness, and harshness — on romantic relationships, the body, affection, and (un)love.«
Librería Cosmonauta, Quito, Ecuador

»The Saint is both the method and the end: it brings together the pre-colonial world with the forms of our ultra-capitalist, ultra-death present day, without exclusions or hierarchy. I see The Saint as a brilliant book and as an amazing operation to restore those emptynesses, those erasures, and as a political poetic of re-incarnation. I see the gesture of re-situating, re-embracing, re-naming, but with their true names, those of the past-present-future, those that name the viscera, the dream, the trance, the faith, the plants, the love.«
Gabriela Wiener

»In the stories of The Saint, death is omnipresent. But death is life, crucifixion, burial, resurrection, exile, invocation, reincarnation, identity, memory, and oblivion (perhaps the true death, the most radical). In Latin America, connections to this phenomenon vary greatly depending on the worldviews of each region. This relationship between the living and the dead is one of the central themes, along with issues of race, class and gender, which the author explores in this book.«
Página 12

»A literary, political, poetic, Chthulucentric earthquake. An earthquake that fills us with pink lava, ancient mud, blood-stained earth, bones and painful memories. A commotion of volcanoes, from which emerge insects, crabs, monsters that drink aguardiente, and donkeys and chickens that promise us love.«
Carolina Meloni González

»Three pages later I am amazed and surrendered. Happy. These stories are of an intense imagination and a loving pleasure in language. And it is a queer book without underlining, all naturalness, diversity not as an empty term but as an interpretation of a universe—and also as its description.«
Mariana Enriquez

»The Saint is a captivating work that immerses us in a universe of stories that explore the complexity of life and death, faith and doubt, all with a touch of magical realism that characterises the author. A powerful voice in contemporary literature. Her ability to spin stories that are both intimate and universal, and thus play with fiction, is truly admirable.«
Babelio

»In this essay, interweaving personal anecdotes, Estay reflects on the “post-memory” of the Latin American dictatorships of the 1970s: the trauma that the generations who endured it pass on to those who follow.«
Le Monde diplomatique

»Both an autobiographical account – sometimes fictionalised – and an essay, this first book skilfully explores the legacy left by dictatorship on younger generations.«
Le Monde

»How can one live as the daughter of torture victims and niece of a torturer? Veronica Estay Stange recounts her journey of memory in her book Survivre à la survie, Chili, une mémoire déchiré.« 
Patrick Bèle, interview in: Le Figaro

»A very delicate and meaningful literary text.«
El País

»The Hangover of Memory is one of the most moving and complex books written on postmemory in Chile, understood as the relationship a generation establishes with the traumatic memory of events directly experienced by a previous generation.
It is also a narrative that addresses the question of political militancy—a dimension that first appears in the book as a diffuse desire to repeat the revolutionary history of one’s parents and that, in maturity, takes a different path through engagement with human rights defense collectives, particularly the group Disobedient Stories.
With a writing style that is at times subtle and poetic, at others clear and direct—or, when necessary, critical and reflective—the author succeeds in capturing the tensions involved in living within a family torn in two by something as vast as History.
The Hangover of Memory is an intelligent book. It is a visceral book. It is an ethical book. It is a necessary book, one that has much to teach us about the importance of the collective in shaping our relationship not only with the past, but also with ourselves and with the present and future of a country« 
Lorena Amaro Castro, Palabra Pública

»The publication of The Hangover of Memory marked a further step toward understanding what the “disobedient” and liberating act of speaking out means—an act taken up by a group of sons, daughters, and relatives of genocidaires who, after an intimate and personal trauma, decided to publicly repudiate the acts committed by their parents and to commit themselves to the defense of human rights.
In Verónica Estay’s book, one can highlight the importance and originality of the subject matter, combined with an intimate and sincere tone that lends the narration of the events—authentic events—a strong appeal, often eliciting emotion and empathy in the reader.«
Adriana Lassel, Proyecto Patrimonio

»In this debut novel, the author presents the desert as an emotional landscape that explores themes of solitude, belonging and contemporary forms of escape. The book offers a cinematic journey through the intimacy and social landscape of the north, combining an anthropological perspective with literary sensibility to explore how identity and desire are negotiated in a territory that both observes and is observed.«
Contrapunto

»With a style that blends the narrative and the visual, the novel offers an intimate look at dance, at houses that hide secrets, and at the women who inhabit complex spaces. The novel is a choral, political, and human narrative that turns the most important festival in northern Chile into a story about silence, faith, and desire.«
Todalacultura.org

»Malu’s writing, which draws on her experience in screenwriting, offers a classic novel in which the focus is on the narrative, the plot and the characters, without the need for ostentatious experimentation — although there is some — or spectacular, pyrotechnic events. It is a novel about humanity.«
Simón Ergas, editor at La Pollera Ediciones, in El Mostrador

»Through its female protagonists, Heat Islands takes us by the hand into the depths of human relationships, to the most hidden recesses of our humanity as animals, and to the most sinister truths concealed behind the walls of a house or in the cellar of a bar; and it is the heat, acting as a catalyst, that enables us to see and feel them first-hand.«
Carcaj

»Heat Islands is a social critique disguised as a dystopia. The environmental crisis is not portrayed as a future event, but as an urgent matter. It is not merely a natural catastrophe, but also a political one: its consequences affect people unequally and expose the system’s failings. The book goes beyond individualism in the fight against climate change: it argues that it is also the state’s responsibility.«
culturizarte

»What makes Heat Islands unique is that it is not confined to the circumstances of a climate dystopia; rather, it presents stories set in that environment but which draw on other traditions, including echoes of José Donoso — the horror of the hallways in the employer’s mansion, as defined by Rafael Gumucio — which portray the home and domestic life as an ominous space harbouring secret violence.«
Revista Santiago

»A novel where mystery and passion intertwine with history.«
Mario Vargas Llosa

»A gripping epic.«
L’Alsace

»Inspired by the almost mystical aura surrounding the violins of the legendary Italian violin maker, the Argentine author Alejandro G. Roemmers had the brilliant idea of making this iconic and heritage-rich object the central plot device in a gripping historical crime novel.«
Carrefour savoirs

»Music, passion and history. The last violin crafted by Stradivari in 1737 possesses a mysterious power that influences the fate of all who own it. Over the centuries, the instrument passed through the lives of various figures, until a double murder in 2021. The ensuing investigation reveals the link between these crimes and the violin’s turbulent history.«
Océane FNAC Nantes

»In this adventure novel, the world continues to spiral into ruin, whilst music never gives up on trying to save it. Intoxicating.«
Femme Actuelle

»A fast-paced novel about the protective and healing power of music.«
Historia

»A fascinating dive into history.«
Sud Radio

»Part police thriller, part historical epic, the story opens with a true event: the murder of the German violin maker Bernard von Bredow and his daughter in Paraguay in 2021. The alleged motive is the theft of a very special Stradivarius violin. This murder sets in motion a plot in which, like the detective in charge of the case, the reader falls under the spell of the instrument.«
Le Figaro Magazine

»In this book, the violins crafted by the famous Italian violin maker Antonio Stradivari traverse the centuries without ever losing their voice.«
Le Parisien Week-end

»The suspense is constant, the red herrings plentiful, and you find yourself swept up in this musical and historical treasure hunt.«
Marie-Aimée Bonnefoy, La Charente Libre

»A resounding success!«
Christian Roinat, America Nostra

»The novel, for its part, does not aim to fit neatly into any given genre. It uses the framework of an enigma-based detective story, but does not confine itself to it. It includes a thoroughly researched historical dimension, but does not stop there. It is realistic, adhering to a narrative contract of plausibility, yet opens, through the violin, onto a superhuman plane.« 
María Rosa Lojo, Clarín

»A novel destined to break sales records, its pages recounting the plague of Naples (…), the Napoleonic invasions, the opera premieres of Giuseppe Verdi, the outbreak of World War I in Sarajevo, the concentration camps—in this case, the lesser-known Risiera di San Sabba in Trieste—and the infamous rat route, the clandestine escape networks used by many Nazis to settle in South America.«
El Periódico

»An enjoyable novel that travels between the investigations of detective Tobosa and his assistant Gutiérrez at the police station in Asunción to the Nazi concentration camp La Risiera di San Sabba in Trieste.«
La Vanguardia

»The mystery worthy of Mario Vargas Llosa’s final prologue: a novel featuring real murders, legendary violins, and a narrative ambition worthy of the master. A fast-paced thriller that combines elements of police mystery with a plot involving a Stradivarius and a double murder.«
Jorge Coscarón, Esquire

»The book was born from listening to the stories that surrounded me in the cities of Baixada Fluminense, where I grew up. Stories lived between four walls in homes that fought to survive against femicide, the horrors of machismo and the violence of patriarchy.«
Stefano Volp

»Home Saint explores the labyrinth of hatred within a family and its impact on each member’s psyche. This short novel reminds us that every living person carries their dead with them and that, sooner or later, they will need to be laid to rest.«
Itamar Vieira Junior

»A striking and powerful work. To construct a narrative that reveals the complexity of domestic violence in its many forms, Volp explores the visible and invisible pain inflicted by patriarchy, experienced by people of all genders, whilst also drawing on personal experiences from his childhood.«
IstoÉ

»In this beautiful book, the critical look at the abusive male also carries love in the green of well-tended plants and in the flavour of couscous. Without villains or flourishes, such is life when we have the courage to see it.«
Bianca Santana

»In the classic “Anna Karenina”, Tolstoy writes that “all happy families are alike, each unhappy family is unhappy in its own way”, but Stefano Volp’s “Santo de Casa” challenges this maxim. The book shows that happiness and pain can coexist. As the author says, “what is unhappiness for some is happiness for others”.«
Folha de S.Paulo

»The sudden death of a patriarch, devoured by a jaguar, makes his entire family question their sense of mourning. The tragic nature of Zé Maria’s death symbolises all the violence that surrounds him: an abused man and an abusive father and husband. In a kind of autofiction, Stefano Volp scrutinises grief after the loss of an individual who left behind, for the most part, marks of pain. The story shows the impact of gender, race and class pressures within a family.«
Quatro cinco um

»This is the thing: a house, seen from the outside, is just a house, but its walls hold intimate secrets that are too difficult to reveal. Not in this case, as Volp puts his finger firmly in the wound.«
Mídia Ninja

»To construct a narrative that shows the complexity of family violence in multiple forms, Volp investigated the palpable and intangible pain caused by patriarchy, experienced by people of all genders, as well as drawing on personal experiences from his own childhood.«
Casa 1

»With a solid track record in literature and television, Pinto has established himself as one of the most recognised voices in psychological suspense in Chile. His work is distinguished by the creation of unsettling atmospheres, complex moral dilemmas and a profound exploration of human behaviour—elements that have defined his narrative style over the years.
In The Path of the Beasts, the author crafts an intense narrative that invites readers to question ethical boundaries and the decisions that arise in extreme situations. The novel delves into the darkest corners of human behaviour, addressing themes such as violence, guilt and the consequences of our actions.«
La Perla del Limarí

»This well-known author has published his third novel, The Path of the Beasts. A crime novel in which a doctor commits a crime, very much in keeping with Pinto’s view that anyone is capable of committing a crime.«
La Tercera

»Pinto demonstrates that, under certain circumstances, anyone can become a criminal, and in doing so reminds us why he became famous on the small screen: his undeniable mastery of the suspense genre.«
Palabra Pública

»His name is a genre. Carlos Pinto is our Hitchcock.«
Alberto Fuguet

»This novel is a pleasant surprise. Pinto has written a novel with a growing tension, where nothing assures the victory of the law.« 
Patricia Espinoza, literary critic

»Characters such as Augusto Pinochet, Salvador Allende, Ingrid Olderock and several centres of torture appear in these pages that have already earned the respect of critics. In a solid, straightforward account, Pinto tells a true story, but as a novel.«
La Nación

»The novel invites us to descend into the hell of the human condition.«
Mundo Películas

»A powerful debut novel.«
Babelio

»Carlos Pinto immerses us in a story that plays with our emotions and presents us with a parade of the damned, victims and victimizers; it will take us to dark and terrible times in our history as a country and will force us to look, without the option of turning our faces away, at things that in any other circumstance we would prefer to avoid. This is Carlos’s debut novel, but its presence in our collective unconscious makes us feel that we have been reading it for years. Long live Pinto the writer!«
Goodreads

»Tuchschneider’s writing is sharp and precise, and her temperament is anarchic in the best sense of the word. As in her first, excellent novella ‘Girl-Soldier,’ and in the fictional world of this current novella nothing is sacred. The bourgeoisie is the mother of all sins, clichés are exaggerated and/or turned on their heads.«
Tamar Mishmar, YNET

»The reader may recoil here and there, because everyone in the book seems perverted and pathetic. The reader’s mind may hear the voice of a security officer shooing curious onlookers away from an accident scene—”Nothing to see here, move along”—but they will stay, they will want to see this accident, and perhaps they will even muster the courage to ask themselves whether they were peeping at others or at themselves.«
Maya Sela for Haaretz

»It’s worth taking a moment to talk about the sex Tuchschneider describes – and it must be said, with remarkable talent: it’s open. Provocative. It seems to me that beneath Tuchschneider’s cheerful and playful writing lies considerable darkness. This combination of a witty surface with sharp, wild turns of phrase that carry pain and hurt, is slowly becoming part of her distinctive writing style.«
Udi Ben Saadia, Culture critic for Walla News

»Paulina Tuchschneider doesn’t follow the rules. She offers something provocative, very bold – this is a real development in Hebrew literature, a voice of a woman that is very cosmopolitan and new.«
Maya Sela, cultural critic and journalist at Kan, the Israeli Public Broadcasting Corporation

»I haven’t read a book like this, because there isn’t another book like this, that takes Hebrew and chews it up and rolls it around and produces something completely new. What isn’t in the mix? Real estate and high-tech and married life and spouse swapping and tranquilizers and mothers-in-law from hell and an end-of-the-world atmosphere so let’s go crazy with the neighbour across the street just because we can.«
Hila Regev, journalist, podcaster and influencer

»I’ve never read a book that resembles or even reminds me of Paulina Tuchschneider’s second novel. Her writing made me laugh, disgusted me, satisfied me, shook me, and depressed me, and the sharp transitions between these feelings—sometimes several times on the same page—were as stirring and provocative as the plot itself.«
Maor Heumann, journalist for Davar newspaper

»With a steady voice, fluent language, sharp humour and delightfully witty expressions, Tuchschneider lashes out at bourgeois-consumerist culture, all while her heroine struggles to maintain her physical and mental sanity.«
Sagie Rave, author

»Tuchschneider elaborates a consciously and ingeniously physical portrait of the kind of torture involved in being treated as some kind of indiscriminate commodity or contingent – the soldier contingent – only then to attack the real meaninglessness of war (…) How necessary, how indispensable, is this, Tuchschneider’s first novel.«
El País

»A viscous, raw and briskly told story of initiation.«
La Vanguardia

»With the freshness of, at the same time, any high-quality contemporary autofiction – from Sheila Heti to Chris Kraus – and any absurd account of life among potential combatants – (…) Tuchschneider serves up an anti-war treatise, or manifesto, in which, for the first time, there is talk of tampons and tiny villains related to disgust – like the cockroaches that are everywhere – or of the fear of the rifle – which must not be abandoned even during showers – as representative of everything that is being imposed on her.«
El País

»In Girl Soldier, an irreverent, anti-war book, devoid of any patriotic glorification, the question of the mental health of those over whom the threat of imminent war continually looms is addressed.«
Zenda Libros

»A woman soldier’s auto-fictional shot at the absurdity of war.«
El País

»Her potent and appropriate and necessary nihilism is the improvised, sudden nihilism of the present, with no history other than that of the moment, because it is the moment that is all that exists in contemporary society.«
El País