Finding Fernanda

A compelling, dramatic narrative of how an American housewife discovered that the Guatemalan child she was about to adopt had been stolen from her birth mother, shedding light on the alarming and growing problem of international adoption fraud. Over the past five years, over 100,000 children were adopted into the United States, 20,000 of whom came from Guatemala. Finding Fernanda, a dramatic true story paired with investigative reporting, tells the side-by-side tales of an American housewife who adopts a two-year-old girl from Guatemala and the birth mother whose two children were stolen from her. Each woman gradually comes to realize her role in what was one of Guatemala's most profitable black-market industries: the buying and selling of children for international adoption. Finding Fernanda is an overdue, unprecedented look at adoption corruption--and a poignant, riveting human story about the power of hope, faith, and determination.

The dramatic story of how an American housewife discovered that the Guatemalan child she was about to adopt had been stolen from her birth mother Over the last decade, nearly 200,000 children have been adopted into the United States, 25,000 of whom came from Guatemala. Finding Fernanda, a dramatic true story paired with investigative reporting, tells the side-by-side tales of an American woman who adopted a two-year-old girl from Guatemala and the birth mother whose two children were stolen from her. Each woman gradually comes to realize her role in what was one of Guatemala’s most profitable black-market industries: the buying and selling of children for international adoption. Finding Fernanda is an overdue, unprecedented look at adoption corruption—and a poignant, riveting human story about the power of hope, faith, and determination.

The English-language debut of one of the most thrilling and accomplished young Mexican writers Winner of the Queen Sofía Spanish Institute's Tanslation Prize Longlisted for the National Book Award Shortlisted for the Booker Prize Winner of the Internationaler Literaturpreis New York Public Library Best Books of 2020 Chicago Public Library Best Book of 2020 The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters—inners whom most people would write off as irredeemable—forming a lasting portrait of a damned Mexican village. Like Roberto Bolano’s 2666 or Faulkner’s novels, Hurricane Season takes place in a world saturated with mythology and violence—real violence, the kind that seeps into the soil, poisoning everything around: it’s a world that becomes more and more terrifying the deeper you explore it.

A stunning collection of essays and memoir from twice Booker Prize winner and international bestseller Hilary Mantel, author of The Mirror and the Light

This Ecuadorian short story collection explores domestic horrors and everyday violence, a "grotesque, unflinching" portrait of twenty-first-century Latin America (Publishers Weekly). “Ampuero’s literary voice is tough and beautiful at once: her stories are exquisite and dangerous objects.” —Yuri Herrera, author of Signs Preceding the End of the World Named one of the ten best fiction books of 2018 by the New York Times en Español, Cockfight is the debut work by Ecuadorian writer and journalist María Fernanda Ampuero. In lucid and compelling prose, Ampuero sheds light on the hidden aspects of the home: the grotesque realities of family, coming of age, religion, and class struggle. A family’s maids witness a horrible cycle of abuse, a girl is auctioned off by a gang of criminals, and two sisters find themselves at the mercy of their spiteful brother. With violence masquerading as love, characters spend their lives trapped reenacting their past traumas. Heralding a brutal and singular new voice, Cockfight explores the power of the home to both create and destroy those within it.

In a rundown apartment building, in an unnamed city in Uruguay, a father and daughter close themselves off from the world. "The world is this house," says Clara, and the rooftop becomes their last recess of freedom. A pet canary is their only witness. As Clara’s connection to the outside is stripped away—the neighbor who stops coming by, the lover whose existence is only known by a pregnancy—desperation and paranoia take hold. It's a stifling embrace, and we are there with her, our narrator, dreading what we know the future holds.

The End centers on five friends in Rio de Janeiro who, nearing the end of their lives, are left with memories—of parties, marriages, divorces, fixations, inhibitions, bad decisions—and the physical indignities of aging. Alvaro lives alone and spends his time going from doctor to doctor and bemoaning the evils of his ex-wife. Silvio is a junkie who can’t give up the excesses of sex and drugs even in his old age. Ribeiro is an athletic beach bum enjoying a prolonged sex life thanks to Viagra. Neto is the square member of the group, a faithful husband until his last days. And Ciro is the Don Juan envied by all—but the first to die, struck down by cancer. For all of them, successful careers, personal revelations, and Zen serenity are out of the question, blocked by a seemingly insurmountable wall of frustrations. Orbiting around them are a priest questioning his vocation and a cast of complicated women, neglected and embattled by these self-involved men. Edgy and wise, this tragicomic debut delves into taboo subjects—death, infidelity, impotence, the difficulties of marriage—with unsentimental honesty, and brings Rio and these characters to life in full color.

“In Fernanda Santos’ expert hands, the story of 19 men and a raging wildfire unfolds as a riveting, pulse-pounding account of an American tragedy; and also as a meditation on manhood, brotherhood and family love. The Fire Line is a great and deeply moving book about courageous men and women.” - Héctor Tobar, author of Deep Down Dark: The Untold Stories of 33 Men Buried in a Chilean Mine and the Miracle that Set Them Free. When a bolt of lightning ignited a hilltop in the sleepy town of Yarnell, Arizona, in June of 2013, setting off a blaze that would grow into one of the deadliest fires in American history, the twenty men who made up the Granite Mountain Hotshots sprang into action. An elite crew trained to combat the most challenging wildfires, the Granite Mountain Hotshots were a ragtag family, crisscrossing the American West and wherever else the fires took them. The Hotshots were loyal to one another and dedicated to the tough job they had. There's Eric Marsh, their devoted and demanding superintendent who turned his own personal demons into lessons he used to mold, train and guide his crew; Jesse Steed, their captain, a former Marine, a beast on the fire line and a family man who wasn’t afraid to say “I love you” to the firemen he led; Andrew Ashcraft, a team leader still in his 20s who struggled to balance his love for his beautiful wife and four children and his passion for fighting wildfires. We see this band of brothers at work, at play and at home, until a fire that burned in their own backyards leads to a national tragedy. Impeccably researched, drawing upon more than a hundred hours of interviews with the firefighters’ families, colleagues, state and federal officials, and fire historians and researchers, New York Times Phoenix Bureau Chief Fernanda Santos has written a riveting, pulse-pounding narrative of an unthinkable disaster, a remarkable group of men and the raging wildfires that threaten our country’s treasured wild lands. The Fire Line is the winner of the 2017 Spur Award for Best First Nonfiction Book, and Spur Award Finalist for Best Western Contemporary Nonfiction.

Latinos across the United States are redefining identities, pushing boundaries, and awakening politically in powerful and surprising ways. Many—Afrolatino, indigenous, Muslim, queer and undocumented, living in large cities and small towns—are voices who have been chronically overlooked in how the diverse population of almost sixty million Latinos in the U.S. has been represented. No longer. In this empowering cross-country travelogue, journalist and activist Paola Ramos embarks on a journey to find the communities of people defining the controversial term, “Latinx.” She introduces us to the indigenous Oaxacans who rebuilt the main street in a post-industrial town in upstate New York, the “Las Poderosas” who fight for reproductive rights in Texas, the musicians in Milwaukee whose beats reassure others of their belonging, as well as drag queens, environmental activists, farmworkers, and the migrants detained at our border. Drawing on intensive field research as well as her own personal story, Ramos chronicles how “Latinx” has given rise to a sense of collectivity and solidarity among Latinos unseen in this country for decades. A vital and inspiring work of reportage, Finding Latinx calls on all of us to expand our understanding of what it means to be Latino and what it means to be American. The first step towards change, writes Ramos, is for us to recognize who we are.

Out of the Cage opens in 1956, in Argentina, with the freakish death of Aurora Berro, and descends into a dark philosophical exploration of humanity and mortality. In the midst of her family’s celebration of a national holiday, an LP, careening through the air like a “demented boomerang,” severs her jugular. Her family— an agglomeration of perversions, deformities, and obsessions—seems at first not to notice, singing on. Aurora is left behind in a voyeuristic limbo as an omniscient first-person narrator, to observe the depravity of her family and reflect on the farce of her life and human existence. Fernanda García Lao has been called “the strangest writer of Argentine literature,” and in Out of the Cage, she lives up to that distinction. The book is saturated in strangeness, a blend of formal experimentation, eroticism, grotesque theatricality, and dark humor that evokes the absurdist fictions of Witold Gombrowicz and the style of Silvina Ocampo. The result is a macabre and fantastic vaudeville, a tragicomedy, a kind of Dadaist opus against ideas of eternal beauty and fixed identity, against absolute concepts and universality.