The Witch is dead. After a group of children playing near the irrigation canals discover her decomposing corpse, the village of La Matosa is rife with rumours about how and why this murder occurred. As the novel unfolds in a dazzling linguistic torrent, Fernanda Melchor paints a moving portrait of lives governed by poverty and violence, machismo and misogyny, superstition and prejudice. Written with an infernal lyricism that is as affecting as it is enthralling, Hurricane Season, Melchor's first novel to appear in English, is a formidable portrait of Mexico and its demons, brilliantly translated by Sophie Hughes.

Winner of the 2022 British Academy Prize for Global Cultural Understanding. Novelist Alia Trabucco Zeran has long been fascinated not only with the root causes of violence against women, but by those women who have violently rejected the domestic and passive roles they were meant by their culture to inhabit. Choosing as her subject four iconic homicides perpetrated by Chilean women in the twentieth century, she spent years researching this brilliant work of narrative nonfiction detailing not only the troubling tales of the murders themselves, but the story of how society, the media and men in power reacted to these killings, painting their perpetrators as witches, hysterics, or femmes fatales . . . That is, either evil or out of control. Corina Rojas, Rosa Faundez, Carolina Geel and Teresa Alfaro all committed murder. Their crimes not only led to substantial court decisions, but gave rise to multiple novels, poems, short stories, paintings, plays, songs and films, produced and reproduced throughout the last century. In When Women Kill, we are provided with timelines of events leading up to and following their killings, their apprehension by the authorities, their trials and their representation in the media throughout and following the judicial process. Running in parallel with this often horrifying testimony are the diaries kept by Trabucco Zeran while she worked on her research, addressing the obstacles and dilemmas she encountered as she tackled this discomfiting yet necessary project.

Set in and around the city of Veracruz in Mexico, This Is Not Miami delivers a series of devastating stories – spiralling from real events – that bleed together reportage and the author’s rich and rigorous imagination. These crónicas – a genre unique to Latin American writing that blends reportage, narrative non-fiction and novelistic forms – probe deeply into the motivations of murderers and misfits, into their desires and circumstances, forcing us to understand them – and even empathize – despite our wish to disdain them as monsters. As in her hugely acclaimed novels Hurricane Season and Paradais, and once again brilliantly translated by Sophie Hughes, Fernanda Melchor’s masterful stories show how the violent and shocking aberrations that make the headlines are only the surface ruptures of a society on the brink of chaos.

The Central and South American collection at the British Museum collections contains approximately 62,000 objects, spanning 10,000 years of human history. The vast majority cannot be displayed, and those objects are the subject of Untold Microcosms, a collection of ten stories from ten Latin American writers, and inspired by the narratives about our past that we create through museums, in spite of their gaps and disarticulations.Featuring new original works by: Yasnaya Elena Aguilar, Cristina Rivera Garza, Joseph Zarate, Juan Cardenas, Velia Vidal, Lina Meruane, Gabriela Cabezon Camara, Dolores Reyes, Carlos Fonseca, Djamila Ribeiro.

Santiago, Chile. The city is covered in ash. Three children of ex-militants are facing a past they can neither remember nor forget. Felipe sees dead bodies on every corner of the city, counting them up in an obsessive quest to square these figures with the official death toll. He is searching for the perfect zero, a life with no remainder. Iquela and Paloma, too, are searching for a way to live on. When the body of Paloma's mother is lost in transit, the three take a hearse and a bottle of pisco up the cordillera for a road trip with a difference.Intense, intelligent, and extraordinarily sensitive to the shape and weight of words, this remarkable debut presents a new way to count the cost of a pain that stretches across generations.

In a poverty-stricken neighbourhood wedged between the city and the sea, a father and son struggle to keep their heads above water. Rather than being discouraged by their difficulties and hardship, their response is to come up with increasingly bizarre and imaginative plans in order to get by. Even when a horrifying, macabre event rocks the neighborhood and the locals start to flee, father and son decide to stay put. What matters is staying together.This is a bold, poignant text that juxtaposes a very tender father-son relationship with the son's sexual liberation and a brutal depiction of homophobic violence. Giuseppe Caputo uses delicate - yet electrifying - lyricism and imagery to weave a tale that balances desire, violence, discrimination, love, eroticism and defiance, while evoking with surreal humor the social marginalization of the protagonists as they struggle to keep afloat in a society where there are no safety nets.Like a brightly-lit theme park with its house of horrors, reminiscent in parts of James Baldwin's Another Country or Virginie Despentes' Vernon Subutex trilogy, An Orphan World defies the reader to look away, and the reward is an exhilarating carnival ride filled with beauty, compassion and loss.

Set in a Mexican prison in the late 1960s, The Hole follows three inmates as they plot to sneak in drugs under the noses of their ape-like guards. The inmates desperately need to secure their next fix, and hatch a plan that involves convincing one of their mothers to bring the drugs into the prison, inside her person. But everything about their plan is doomed from the beginning, doomed to end in violence... Unfolding in a single paragraph, The Hole is a verbal torrent, a prison inside a prison, and an ominous parable about how deformed and wretched institutions create even more deformed and wretched individuals.

Inside a luxury housing complex, two misfit teenagers sneak around and get drunk. Franco Andrade, lonely, overweight, and addicted to porn, obsessively fantasizes about seducing his neighbor – an attractive married woman and mother – while Polo dreams about quitting his gruelling job as a gardener within the gated community and fleeing his overbearing mother and their narco-controlled village. Each facing the impossibility of getting what he thinks he deserves, Franco and Polo hatch a mindless and macabre scheme. Written in a chilling torrent of prose by one of our most thrilling new writers, Paradais explores the explosive fragility of Mexican society – fractured by issues of race, class and violence – and how the myths, desires, and hardships of teenagers can tear life apart at the seams.

Set in and around the Mexican city of Veracruz, This Is Not Miami delivers a series of devastating stories-spiraling from real events-that bleed together reportage and the author's rich and rigorous imagination. These narrative nonfiction pieces probe deeply into the motivations of murderers and misfits, into their desires and circumstances, forcing us to understand them-and even empathize-despite our wish to simply label them monsters. As in her hugely acclaimed novels Hurricane Season and Paradais, Fernanda Melchor's masterful stories show how the violent and shocking aberrations that make the headlines are only the surface ruptures of a society on the brink of chaos.

The Witch is dead. After a group of children playing near the irrigation canals discover her decomposing corpse, the village of La Matosa is rife with rumours about how and why this murder occurred. As the novel unfolds in a dazzling linguistic torrent, Fernanda Melchor paints a moving portrait of lives governed by poverty and violence, machismo and misogyny, superstition and prejudice. Written with an infernal lyricism that is as affecting as it is enthralling, Hurricane Season, Melchor's first novel to appear in English, is a formidable portrait of Mexico and its demons, brilliantly translated by Sophie Hughes.

Inside a luxury housing complex, two misfit teenagers sneak around and get drunk. Franco Andrade, lonely, overweight, and addicted to porn, obsessively fantasizes about seducing his neighbor-an attractive married woman and mother-while Polo dreams about quitting his grueling job as a gardener within the gated community and fleeing his overbearing mother and their narco-controlled village. Each facing the impossibility of getting what he thinks he deserves, Franco and Polo hatch a mindless and macabre scheme. Written in a chilling torrent of prose by one of our most thrilling new writers, Paradais explores the explosive fragility of Mexican society-with its racist, classist, hyperviolent tendencies-and how the myths, desires, and hardships of teenagers can tear life apart at the seams.

  WINNER OF SPAIN'S NATIONAL CRITICS AWARD The epic literary adventure that has transfixed readers and critics alike in Spain Almost four hundred passengers are on board the Boeing 747 en route from Los Angeles to Singapore. Only a handful will survive the crash. Washed ashore on a tiny island with no means of contacting the outside world, tension and fear threaten to overwhelm the group. But as they endeavour, day by day, to survive, they find themselves forced to confront the reality of the lives they left behind. Written in deftly cinematic prose, Andrés Ibáñez’s stunning novel is already considered a modern classic in Spain, expertly translated here by Sophie Hughes.    'Ibáñez is, quite simply, a genius' La Vanguardia

'A wonderfully surprising novel, powered by wit, exuberance and nostalgia.' Chloe Aridjis, author of Sea Monsters A captivating portrait of contemporary Mexico, cut through with dazzling wit and sensitivity It started with a drowning. Deep in the heart of Mexico City, where five houses cluster around a sun-drenched courtyard, lives Ana, a precocious twelve-year-old still coming to terms with the mysterious death of her little sister years earlier. Over the rainy, smoggy summer she decides to plant a vegetable garden in the courtyard, and as she digs the ground and plants her seeds, her neighbors in turn delve into their past. As the ripple effects of grief, childlessness, illness and displacement saturate their stories, secrets seep out and questions emerge - Who was my wife? Why did my mom leave? Can I turn back the clock? And how could a girl who knew how to swim drown? Using five voices to tell the singular story of life in an inner city mews, Umami is a quietly devastating novel of missed encounters, missed opportunities, missed people, and those who are left behind. Compassionate, surprising, funny and inventive, it deftly unpicks their stories to offer a darkly comic portrait of contemporary Mexico, as whimsical as it is heart-wrenching.

LONGLISTED FOR THE 2020 INTERNATIONAL BOOKER PRIZE Enrique Vila-Matas's new novel is perhaps his greatest: 'playful and funny and among the best Spanish novelists' Colm Toibin Sixty-something Mac is not writing a novel. He is writing a diary, which no one will ever read. His wife, Carmen, thinks he is wasting his time. But Mac persists, diligently recording his daily walks through the neighbourhood during the hottest summer Barcelona has seen in over a century. But soon he notices that life is exhibiting strange literary overtones, and in the sweltering heat, he becomes ever more immersed in literature - a literature haunted by death but alive with the sheer pleasure of writing. Intricate, erudite and practically fizzing on the page, Mac and His Problem is a masterpiece of metafiction and a testament to the power and playfulness of great literature. 'So deeply comical on the one hand, and so deeply poignant on the other, that you just have to give yourself up to it because you're in the hands of a master' Paul Auster '[Vila-Matas] chooses humour in a way that allows him to have big ideas while relentlessly making fun of them' Sunday Telegraph

'To be European,' writes Leila Slimani, 'is to believe that we are, at once, diverse and united, that the Other is different but equal.' Despite these high ideals, however, there is a growing sense that Europe needs to be fixed, or at the least seriously rethought. The clamour of rising nationalism - alongside widespread feelings of disenfranchisement - needs to be addressed if the dreams of social cohesion, European integration, perhaps even democracy are to be preserved. This anthology brings together 28 acclaimed women writers, artists, scientists and entrepreneurs from across the continent to offer new perspectives on the future of Europe, and how it might be rebuilt. Featuring essays, fictions and short plays, Europa28 asks what it means to be European today and demonstrates - with clarity and often humour - how women really do see things differently.