The second novel by the internationally celebrated writer Alejandro Zambra, a "short and strikingly original" (The New Yorker) book about the stories we spin for ourselves and our loved ones-now reissued by Penguin Veronica is late, and Julian is increasingly convinced she won't ever come home. To pass the time, he improvises a story about trees to coax his stepdaughter, Daniela, to sleep. He has made a life as a literature professor, developing a novel about a man tending to a bonsai tree on the weekends. He is a narrator, an architect, a chronicler of other people's stories. But as the night stretches on before him, and the hours pass with no sign of Veronica, Julian finds himself caught up in the slipstream of the story of his life-of their lives together. What combination of desire and coincidence led them here, to this very night? What will the future-and possibly motherless-Daniela think of him and his stories? Why tell stories at all? The second novel by acclaimed Chilean writer Alejandro Zambra, The Private Lives of Trees overflows with his signature wit and his gift for crafting short novels that manage to contain whole worlds.

Bonsai is the story of Julio and Emilia, two young Chilean students who, seeking truth in great literature, find each other instead. Like all young couples, they lie to each other, revise themselves, and try new identities on for size, observing and analyzing their love story as if it’s one of the great novels they both pretend to have read. As they shadow each other throughout their young adulthoods, falling together and drifting apart, Zambra spins a formally innovative, metafictional tale that brilliantly explores the relationship among love, art, and memory.

Gonzalo is a frustrated would-be poet in a city full of poets; poets lurk in every bookshop, prop up every bar, ready to debate the merits of Teillier and Millan (but never Neruda - beyond the pale). Then, nine years after their bewildering breakup, Gonzalo reunites with his teen sweetheart, Carla, who is now, to his surprise, the mother of a young son, Vicente. Soon they form a happy sort-of family - a stepfamily, though no such word exists in their language. In time, fate and ambition pull the lovers apart, but when it comes to love and poetry, what will be Gonzalo's legacy to his not-quite-stepson Vicente? Zambra chronicles with tenderness and insight the everyday moments - absurd, painful, sexy, sweet, profound - that constitute family life in this bold and brilliant new novel.

Reader, your life is full of choices. Some will bring you joy and others will bring you heartache. Will you choose to cheat (in life, the examination that follows) or will you choose to copy? Will you fall in love? If so, will you remember her name and the number of freckles on her back? Will you marry, divorce, annul? Will you leave your run-down neighbourhood, your long-suffering country and your family? Will you honour your dead, those you loved and those you didn't? Will you have a child, will you regret it? Will you tell them you regret it? Will you, when all's said and done, deserve a kick in the balls? Will you find, here, in this slender book, fictions that entertain and puzzle you? Fictions that reflect yourself back to you? Will you find yourself? Relax, concentrate, dispel any anxious thoughts. Let the world around you settle and fade. Are you ready? Now turn over your papers, and begin.

My Documents is the latest work from Alejandro Zambra, the award-winning Chilean writer whose first novel was heralded as the dawn of a new era in Chilean literature. Whether chronicling the attempts of a migraine-afflicted writer to quit smoking or the loneliness of the call-centre worker, the life of a personal computer or the return of a mercurial godson, this collection of stories evokes the disenchantments of youth and the disillusions of maturity in a Chilean society still troubled by its recent past. Written with the author's trademark irony and precision, humour and melancholy, My Documents is unflinchingly human and essential evidence of a sublimely talented writer working at the height of his powers.

A young boy plays hide and seek in the suburbs of Santiago, unaware that his neighbours are becoming entangled in the brutality of Pinochet's regime. Then one night a mysterious girl appears in his neighbourhood and makes a life-changing request.

"Sublime . . . true and beautiful and moving." -The New York Times Book Review The landmark first novel of one of the greatest living Latin American writers-now in a sparkling new translation by his longtime collaborator When it was first published in 2006, then-literary critic and poet Alejandro Zambra's first novel, Bonsai, caused a sensation. "It was said," according to Chile's newspaper of record, El Mercurio, "that it represented the end of an era, or the beginning of another, in the nation's letters." Zambra would go on to become a writer of international renown, winning prizes in Chile and around the world for his funny, tender, sly fictions. Here, in a brilliant new translation from four-time International Booker Prize nominee Megan McDowell, is the little book that started it all: The story of Julio and Emilia, two Chilean university students who, seeking truth in great literature, find one another instead. As they fall together and drift apart over the course of young adulthood, Zambra spins an emotionally engrossing, expertly distilled, formally inventive tale of love, art, and memory.

In Not to Read, Alejandro Zambra outlines his own particular theory of reading that also offers a kind of blurry self-portrait, or literary autobiography. Whether writing about Natalia Ginzburg, typewriters and computers, Paul Leautaud, or how to be silent in German, his essays function as a laboratory for his novels, a testing ground for ideas, readings and style. Not to Read also presents an alternative pantheon of Latin American literature - Zambra would rather talk about Nicanor Parra than Pablo Neruda, Mario Levrero than Gabriel Garcia Marquez. His voice is that of a trusted friend telling you about a book or an author he's excited about, how he reads, and why he writes. A standard-bearer of his generation in Chile, with Not to Read Alejandro Zambra confirms he is one of the most engaging writers of our time.

The first story collection by the internationally celebrated writer Alejandro Zambra, a book that "burn[s] brighter than most anything we'd call exceptional, yesterday or today and in any language" (NPR)-now reissued by Penguin In this beloved and critically acclaimed collection, Alejandro Zambra offers eleven stories that capture life in Chile before and after Pinochet, a catalog of the peculiar and powerful associations that shape our relationships, our identities, and our lives. The effect is that of a novel in eleven parts, each one uncannily captivating, formerly residing in an innocuous desktop folder titled "My Documents." Intimate and playful, inventive and profound, My Documents is one of Zambra's finest achievements: a book that exudes boundless wit and impeccable style and that is a testament to the necessity of literature even-and especially-in times of political crisis.

A NEW YORKER BEST BOOK OF THE YEAR A WALL STREET JOURNAL TOP 10 BOOK OF THE YEAR ONE OF NPR'S "BOOKS WE LOVE" "A tender and funny story about love, family and the peculiar position of being a stepparent...[Chilean Poet] broadens the author's scope and quite likely his international reputation." -Los Angeles Times "Zambra's books have long shown him to be a writer who, at the sentence level, is in a world all his own." -Juan Vidal, NPR.org A writer of "startling talent" (The New York Times Book Review), Alejandro Zambra returns with his most substantial work yet: a story of fathers and sons, ambition and failure, and what it means to make a family After a chance encounter at a Santiago nightclub, aspiring poet Gonzalo reunites with his first love, Carla. Though their desire for each other is still intact, much has changed: among other things, Carla now has a six-year-old son, Vicente. Soon the three form a happy sort-of family-a stepfamily, though no such word exists in their language. Eventually, their ambitions pull the lovers in different directions-in Gonzalo's case, all the way to New York. Though Gonzalo takes his books when he goes, still, Vicente inherits his ex-stepfather's love of poetry. When, at eighteen, Vicente meets Pru, an American journalist literally and figuratively lost in Santiago, he encourages her to write about Chilean poets-not the famous, dead kind, your Nerudas or Mistrals or Bolanos, but rather the living, striving, everyday ones. Pru's research leads her into this eccentric community-another kind of family, dysfunctional but ultimately loving. Will it also lead Vicente and Gonzalo back to each other? In Chilean Poet, Alejandro Zambra chronicles with enormous tenderness and insight the small moments-sexy, absurd, painful, sweet, profound-that make up our personal histories. Exploring how we choose our families and how we betray them, and what it means to be a man in relationships-a partner, father, stepfather, teacher, lover, writer, and friend-it is a bold and brilliant new work by one of the most important writers of our time.

In the city of San Agustin de Tango, the banal is hard to tell from the bizarre. In a single day, a man is guillotined for preaching the intellectual pleasures of sex; an ostrich in a zoo, reversing roles, devours a lion; and a man, while urinating, goes bungee jumping through time itself-and manages to escape. Or does he? Witness the weird machinery of Yesterday, where the Chilean master Juan Emar deploys irony, digression, and giddy repetitions to ratchet up narrative tension again and again and again, in this thrilling whirlwind of the ecstatically unexpected-all wed to the happiest marriage of any novel, ever. Born in Chile at the tail end of the nineteenth century, Juan Emar was largely overlooked during his lifetime, and lived in self-imposed exile from the literary circles of his day. A cult of Emarians, however, always persisted, and after several rediscoveries in the Spanish-speaking world, he is finally getting his international due with the English-language debut of Yesterday, deftly translated by Megan McDowell. Emar's work offers unique and delirious pleasures, and will be an epiphany to anglophone readers.

A "brilliant, innovative, beautiful" (The Guardian) book from the acclaimed author of Chilean Poet "Dazzling . . . a work of parody, but also of poetry." -The New York Times Book Review NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR, THE GUARDIAN, AND THE IRISH TIMES "Latin America's new literary star" (The New Yorker), Alejandro Zambra is celebrated around the world for his strikingly original, slyly funny, daringly unconventional fiction. Now, at the height of his powers, Zambra returns with his most audaciously brilliant book yet. Written in the form of a standardized test, Multiple Choice invites the reader to respond to virtuoso language exercises and short narrative passages through multiple-choice questions that are thought-provoking, usually unanswerable, and often absurd. It offers a new kind of reading experience, one in which the reader participates directly in the creation of meaning, and the nature of storytelling itself is called into question. At once funny, poignant, and political, Multiple Choice is about love and family, authoritarianism and its legacies, and the conviction that, rather than learning to think for ourselves, we are trained to obey and repeat. Serious in its literary ambition and playful in its execution, it confirms Alejandro Zambra as one of the most important writers working in any language. NAMED A BEST BOOK OF THE SUMMER BY THE WALL STREET JOURNAL, ELLE, THE HUFFINGTON POST, THE MILLIONS, VOX, LIT HUB, THE BBC, THE GUARDIAN AND PUREWOW

One of Cuba’s—and Latin America’s—greatest historical novels, about imperial conquest carried out under the guise of liberation, in its first new English translation in sixty years and featuring a new foreword by Alejandro Zambra A Penguin Classic When he arrives in Cuba at the close of the eighteenth century, Victor Hugues, a merchant sailor from Marseille, brings with him not only the idealism of the French Revolution but also its ambition and bloodlust. Landing at the Havana doorstep of a trio of wealthy, eccentric Creole orphans, he sweeps them across the Caribbean Sea to Guadeloupe, whose enslaved Africans he frees only then to exploit them in his fight against the British for colonial sovereignty. What ensues in Alejo Carpentier’s swashbuckling, magical realist masterpiece is an explosive clash between the New World and the Old World, and between revolutionary ideals and the corrupting allure of power.

A brilliant novel from "the herald of a new wave of Chilean fiction" (Marcela Valdes, "The Nation")
Alejandro Zambra's "Ways of Going Home "begins with an earthquake, seen through the eyes of an unnamed nine-year-old boy who lives in an undistinguished middle-class housing development in a suburb of Santiago, Chile. When the neighbors camp out overnight, the protagonist gets his first glimpse of Claudia, an older girl who asks him to spy on her uncle Raul.
In the second section, the protagonist is the writer of the story begun in the first section. His father is a man of few words who claims to be apolitical but who quietly sympathized--to what degree, the author isn't sure--with the Pinochet regime. His reflections on the progress of the novel and on his own life--which is strikingly similar to the life of his novel's protagonist--expose the raw suture of fiction and reality.
"Ways of Going Home" switches between author and character, past and present, reflecting with melancholy and rage on the history of a nation and on a generation born too late--the generation which, as the author-narrator puts it, learned to read and write while their parents became accomplices or victims. It is the most personal novel to date from Zambra, the most important Chilean author since Roberto Bolano.