Born in Buenos Aires in 1951, Ana Maria Shua is one of the most exciting and prolific young Latin American Jewish writers. She published her first book at the age of sixteen; since then she has published thirteen books, including nonfiction, novels, short stories, and children's books. The Book of Memories, originally published in Spanish in 1994, is a humorous yet moving exploration of a Jewish family's history, as seen through the eyes of three generations of women. The story begins with Grandfather Gedalia leaving Poland with forged papers to escape the army and sailing to Argentina, the "other America." Sometimes charming, sometimes stingy, this patriarchal figure, a peddler and sometime moneylender, heads a clan that includes, among others, the feisty and foul-mouthed Aunt Judith and Uncle Silvester, a seducer of young girls who has such high principles that he turns himself in after missing the Argentine police raid on his socialist printing press. From the assorted perspectives of these and other characters, this tale of Jewish immigrants explores life in Argentina, the role of women, and the power and the limits of machismo and nationalism.

Dystopian fantasy, political parable, morality tale--however one reads it, this novel is first and foremost pure Ana Maria Shua, a work of fiction like no other and a dark pleasure to read. Shua, an Argentinian writer widely celebrated throughout Latin America, frames her complex drama in deceptively simple, straightforward prose. The story takes place at a fat farm called The Reeds, a nightmare world that might not exist but certainly could. The last resort of the overweight wealthy (or sponsored), The Reeds subjects its "campers" to extreme measures--particularly the regimented system of public humiliation imposed by its director, a glib and sharp-minded sadist called the Professor.

Into the midst of this methodical madness comes Marina Rubin, who experiences all the excesses of The Reeds. The pervasive cruelty of this refined novel distances it from facile conclusions. Amid the mordant social satire, The Reeds' obese campers are far more than merely victims of the system, subjected to impossible social demands for physical perfection. Out of control, fierce, rebellious, or subjugated, they are recognizable human beings, contending with an unjust but efficient authority in their unique and solitary ways.

In Death as a Side Effect, Ana Maria Shua's brilliantly dark satire transports readers to a dystopic future Argentina where gangs of ad hoc marauders and professional thieves roam the streets while the wealthy purchase security behind fortified concrete walls and the elderly cower in their apartments in fear of being whisked off to state-mandated "convalescent" homes, never to return. Abandoned by his mistress, suffocated by his father, and estranged from his demented mother and ineffectual sister, Ernesto seeks his vanished lover. Hoping to save his dying father from the ministrations of a diabolical health-care system, he discovers that, ultimately, everyone is a patient, and the instruments wielded by the impersonal medical corps cut to the very heart of the social fabric. The world of this novel, with its closed districts, unsafe travel, ubiquitous security cameras, and widespread artificiality and uncertainty, is as familiar as it is strange-and as instructive, in its harrowing way, as it is deeply entertaining. The Spanish edition has been selected by the Congreso de la Lengua Espanola as one of the one hundred best Latin American novels published in the last twenty-five years.