The memories we return to most frequently are the most inaccurate, the least faithful to reality... This is the tragic realisation made by the narrator of _Ramifications _as he tries to make sense of the defining event of his childhood: the disappearance of his mother to join the Zapatista uprising that shook Mexico in 1994. Left behind with an emotionally distant father who is singularly unqualified to raise him, and an older sister who only wants to get on with being a teenager, he takes refuge in strange rituals that isolate him from his peers: favouring the left-hand side of his body, trying to tear leaves into perfect halves, obsessively shaping origami figures. Now, two decades older and withdrawn from the world, he folds and unfolds these memories, searching the creases for the truth of what happened to his mother, unaware that he is on the verge of a discovery that will destroy everything he believed he knew about his family.Award-winning Mexican author Daniel Saldana Paris masterfully evokes a child's attempts to interpret events beyond his understanding. Less a Bildungs-roman than a tale of arrested development, this story of a boy growing up in the aptly-named Educacion neighbourhood of Mexico City is a rich and moving portrait of a life thwarted by machismo and secrecy.

It was as if we'd reached the minimum critical point of a mathematical curve. Imagine a parabola. Zero point down, at the bottom of an abyss. That's how low we sank. The year is 1993. Cuba is at the height of the Special Period, a widespread economic crisis following the collapse of the Soviet bloc.For Julia, a mathematics lecturer who hates teaching, this is Year Zero: the lowest possible point. But a way out appears: the search for a missing document that will prove the telephone was invented in Havana, secure her reputation, and give Cuba a purpose once more. What begins as an investigation into scientific history becomes a tangle of sex, friendship, family legacies, and the intricacies of how people find ways to survive in a country at its lowest ebb.

In New Mexico, she is a young mother. Stuck in a marriage that's deteriorating, unable to shake the feeling that her house and belongings are trapping her, she is increasingly drawn to reflect on who she was before: when she worked as an editor in New York, rarely in her own apartment, always seeking new places to call home. As she folds time, seeking to inhabit her past, she begins to encounter ghosts. Time and again, a solitary man appears - Gilberto Owen - a lesser known poet of the Harlem Renaissance, and an obsession of her youth. He is living on the edge of Harlem's social scene at the beginning of the Great Depression, anticipating death, and tracing spectral visions of his own - among them, a young woman, travelling alone, on the subway. Valeria Luiselli's daring debut, Faces in the Crowd is a meditation on time, hauntings, and the elusive, transitory identities we assume.

Gustavo 'Highway' Sanchez is a man with a mission: he is planning to replace every last one of his unsightly teeth. He has a few skills that might help him on his way: he can imitate Janis Joplin after two rums, he can interpret Chinese fortune cookies, he can stand an egg upright on a table, and he can float on his back. And, of course, he is the world's best auction caller - although other people might not realise this, because he is, by nature, very discreet. Studying auctioneering under Grandmaster Oklahoma and the famous country singer Leroy Van Dyke, Highway travels the world, amassing his collection of 'Collectibles' and perfecting his own specialty: the allegoric auction. In his quest for a perfect set of pearly whites, he finds unusual ways to raise the funds, culminating in the sale of the jewels of his collection: the teeth of the 'notorious infamous' - Plato, Petrarch, Chesterton, Virginia Woolf et al. Written with elegance, wit and exhilarating boldness, Valeria Luiselli takes us on an idiosyncratic and hugely enjoyable journey that offers an insightful meditation on value, worth and creation, and the points at which they overlap.

Folding and refolding origami frogs, extracting the symmetrical veins from leaves, retreating to an imaginary world in his closet: after Teresa walked out the door one July afternoon in 1994, her son filled the void she left with a series of unusual rituals. Twenty-three years later, he lies in bed, reconstructing the events surrounding his mother's disappearance. Did she actually join the Zapatistas in the jungles of Chiapas, as he was led to believe? He dissects his memories of that fateful summer until a startling discovery shatters his conception of his family's story. Daniel Saldana Paris (Among Strange Victims) returns with an emotionally rich anti-coming-of-age novel that wrestles with the inherited privileges and crimes of masculinity.

Luiselli was a 5 Under 35 recipient for Faces, a finalist for Three Percent's 2014 World Cup of Literature, and is one of the featured authors at this year's London Book Fair Reforma, Mexico's biggest newspaper, named The Story of My Teeth one of 2014's best books There is already a great deal of bookseller interest and galley requests-she's beloved by tastemakers and was named Brazos Bookstore's staff favorite in 2014. Faces and Sidewalks both appeared on numerous best of lists and received glowing reviews, laying the groundwork for Teeth, which won't have to be discovered-she's now a known commodity. Teeth is funnier and more whimsical than her previous work, almost a romp. It's concern with literary influence, as well as the value of art, is always buoyed by its playfulness and delight (Highway's uncles include Euripides Lopez Sanchez, Juan Sanchez Baudrillard, and Miguel Sanchez Foucault). The novel was written serially and in collaboration with workers at a Jumex juice factory, giving it a terrific back story and lots of talking points.

Electric Literature 25 Best Novels of 2014 Largehearted Boy Favorite Novels of 2014 "An extraordinary new literary talent." The Daily Telegraph "In part a portrait of the artist as a young woman, this deceptively modest-seeming, astonishingly inventive novel creates an extraordinary intimacy, a sensibility so alive it quietly takes over all your senses, quivering through your nerve endings, opening your eyes and heart. Youth, from unruly student years to early motherhood and a loving marriage and then, in the book's second half, wilder and something else altogether, the fearless, half-mad imagination of youth, I might as well call it has rarely been so freshly, charmingly, and unforgettably portrayed. Valeria Luiselli is a masterful, entirely original writer." Francisco Goldman In Mexico City, a young mother is writing a novel of her days as a translator living in New York. In Harlem, a translator is desperate to publish the works of Gilberto Owen, an obscure Mexican poet. And in Philadelphia, Gilberto Owen recalls his friendship with Lorca, and the young woman he saw in the windows of passing trains. Valeria Luiselli's debut signals the arrival of a major international writer and an unexpected and necessary voice in contemporary fiction. "Luiselli's haunting debut novel, about a young mother living in Mexico City who writes a novel looking back on her time spent working as a translator of obscure works at a small independent press in Harlem, erodes the concrete borders of everyday life with a beautiful, melancholy contemplation of disappearance. . . . Luiselli plays with the idea of time and identity with grace and intuition." Publishers Weekly

The last of four special publications to accompany a year-long display of works from Barcelona's "la Caixa" Collection at Whitechapel Gallery, selected by and featuring newly-commissioned fictional works by some of the most original English and Spanish-language writers working today. Established in Barcelona in 1985 by "la Caixa" Banking Foundation, the "la Caixa" Collection features over 1,000 works of international contemporary art from the last 30 years, includ-ing artists such as Antoni Tapies, Joseph Beuys, Cornelia Parker and Doris Salcedo. For a major four-part display running from 2019-20, Whitechapel Gallery has partnered with "la Caixa" to showcase key pieces from the Collection, with each of the four 'chapters' curated by a contemporary writer, who will also contribute a brand new work of fiction in response to their selection. Each display will be accompanied by a fully-illustrated catalogue featuring the works displayed and the new text. The final chapter, on display in Spring 2020, will be selected by Valeria Luiselli (b. Mexico City, 1983; lives in New York). She has written for The New York Times, McSweeney's, Dazed & Confused and Granta, and her published books include the novels Faces in the Crowd (2012), The Story of My Teeth (2015) and Lost Children Archive (2019), which has been longlisted for the 2019 Booker prize.

Whether in a court room or a dressing room, wigs come in many forms and represent many things: from power, to sexuality, to parody, to health, to self-identity, to disguise. Wigs are present at parties and in chemotherapy rooms, in pop music and contemporary art. In this witty and eloquent book, Luigi Amara reflects on the curious history of the wig and along the way takes a sideways look at Western civilization. Amara illuminates how the wig has starred throughout history, from ancient Egypt to the court of Louis XIV, and from British courtrooms to drag shows today. Containing many striking and unusual images, The Wig will appeal to all those interested in the history of fashion--as well as philosophy, art, culture, and aesthetics.

"Outstanding political fantasy. Eduardo Rabasa has written a futuristic novel set in the present; its inventiveness is not based on new technologies but rather on new kinds of relationships." -- Juan Villoro A hilarious satire and universal exploration of the origins of power and corruption. A Zero-Sum Game uses the highly-charged election for the presidency of a residents' committee and the influence of a powerful stranger to both expose those in power and to sympathize with individuals who find themselves caught in the paradox of empowerment and impotence that is modern consumer society and the democratic state. Eduardo Rabasa is the founding editorial director of Sexto Piso, Mexico's most prominent independent publishing house, and was selected to the Hay Festival's Mexico20 list of the greatest Mexican authors under the age of forty.