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.

A moving, eye-opening polemic about the US-Mexico border and what happens to the tens of thousands of unaccompanied Mexican and Central American children arriving in the US without papers 'We are driving across Oklahoma in early June when we first hear about the waves of children arriving, alone and undocumented, from Mexico and Central America. Tens of thousands have been detained at the border. What will happen to them? Where are the parents? And why have they undertaken a terrifying, life-threatening journey to enter the United States?' Valeria Luiselli works as a volunteer at the federal immigration court in New York City, translating for unaccompanied migrant children. Out of her work has come this book - a search for answers and an urgent appeal for humanity and compassion in response to mass migration, the most significant global phenomenon of our time. 'So true and moving that it filled me with hopeless hope' Ali Smith 'Harrowing, intimate, quietly brilliant' New York Times 'The first must-read book of the Trump era' Texas Observer 'Angry and affecting. A slight book with a big impact' Financial Times 'There are many books addressing the plight of refugees. Tell Me How It Ends - lucid, plain-speaking and authoritative - is one of the most powerful' Big Issue

Evocative, erudite and consistently surprising, these narrative essays explore the places - real and imagined - that shape our lives. Whether wandering the familiar streets of her neighbourhood, revisiting the landmarks of her past, or getting lost in a foreign city, Valeria Luiselli plots a unique and exhilarating course that traces unexpected pathways between diverse ideas and reveals the world from a fresh perspective. Here, we follow Luiselli as she cycles around Mexico City, shares a cigarette with the night porter in her Harlem apartment, and hunts down a poet's tomb in Venice. Each location sparks Luiselli's nimble curiosity and prompts imaginative reflections and inventions on topics as varied as the fluidity of identity, the elusiveness of words that can't be translated, the competing methods of arranging a bookcase, and the way that city-dwellers evade eye-contact with their neighbours while spying on their lives. Sidewalks cements Luiselli's reputation as one of Latin America's most original, smart and exciting new literary voices.

"Humane yet often horrifying, Tell Me How It Ends offers a compelling, intimate look at a continuing crisis-and its ongoing cost in an age of increasing urgency." -Jeremy Garber, Powell's Books "Valeria Luiselli's extended essay on her volunteer work translating for child immigrants confronts with compassion and honesty the problem of the North American refugee crisis. It's a rare thing: a book everyone should read." -Stephen Sparks, Point Reyes Books"Tell Me How It Ends evokes empathy as it educates. It is a vital contribution to the body of post-Trump work being published in early 2017."-Katharine Solheim, Unabridged Bookstore "While this essay is brilliant for exactly what it depicts, it helps open larger questions, which we're ever more on the precipice of now, of where all of this will go, how all of this might end. Is this a story, or is this beyond a story? Valeria Luiselli is one of those brave and eloquent enough to help us see."-Rick Simonson, Elliott Bay Book Company "Appealing to the language of the United States' fraught immigration policy, Luiselli exposes the cracks in this foundation. Herself an immigrant, she highlights the human cost of its brokenness, as well as the hope that it (rather than walls) might be rebuilt."-Brad Johnson, Diesel Bookstore "The bureaucratic labyrinth of immigration, the dangers of searching for a better life, all of this and more is contained in this brief and profound work. Tell Me How It Ends is not just relevant, it's essential."-Mark Haber, Brazos Bookstore

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

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.

A young mother in Mexico City, captive to a past that both overwhelms and liberates her, and a house she cannot abandon or fully occupy, writes a novel of her days as a translator living in New York. A young translator, adrift in Harlem, is desperate to translate and publish the works of Gilberto Owen, an obscure Mexican poet who lived in Harlem during the 1920s and whose ghostly presence haunts her in the city s subways. And Gilberto Owen, dying in Philadelphia in the 1950s, convinced he is slowly disappearing, recalls his heyday decades before; his friendships with Nella Larsen, Louis Zukofsky, and Federico Garcia Lorca; and the young woman in a red coat he saw in the windows of passing trains. As the voices of the narrators overlap and merge, they drift into one single stream, an elegiac evocation of love and loss.

Valeria Luiselli s debut signals the arrival of a major international writer and an unexpected and necessary voice in contemporary fiction."