"Bastards Tongues is gossipy, vain and pugilistic—in other words, all the juicy things an academic memoir should be but too rarely is."—Michael Erard, The New York Times Book Review

"Bolaño was a difficult, angry, self-reflexive writer who lived an erratic and occasionally unpleasant life. And Americans, as the head of the Swedish Academy has annoyingly but rightly pointed out, don't read much fiction in translation anyway. But when the first of Bolaño's major novels, The Savage Detectives, a massive, bizarre epic about a band of avant-garde Mexican poets, was published in the U.S. last year, it instantly became a cult hit among readers and practically a fetish object to critics. Bolaño's second (and last) major novel is titled 2666, and if anything, it is even more massive and more bizarre. It is also a masterpiece, the electrifying literary event of the year."—Lev Grossman, Time 

"Bombal—with her bold disregard for simple realism in favor of a heightened reality in which the external world reflects the internal truth of the characters' feeling, and with her deliberate mingling of fantasy, memory and event—is the precursor of the magical realism that is the flower of South American writing today . . . [the novel] awake[s] a feeling of genuine discovery, of minds and hearts not borrowed from European literature but indigenous to a New World of thought and feeling."—

"Carpentier's writing has the power and range of a cathedral organ on the eve of the Resurrection."—The New Yorker

"A Challenging meditation on politics, love and the burden of history itself . . . What lingers most in this profound work are the images that convey the wonderous grandeur of a society in transformation. The Old Gringo is a brilliant fiction, a luminous and compelling chronicle."—Henry Mayer, San Francisco Chronicle

"This is more than a retranslation of a masterpiece. It amounts to a restoration: here is the magnificent book that Fuentes wrote originally, superbly rendered by Alfred Mac Adam into an English version that precisely meshes with Fuentes's Spanish."—Douglas Day

"Galeano takes us on a dark tour through the rabbit hole at the End of History. Like the revolutionary printmaker Posada, he unmasks the belle epoque of the bourgeoisie as a danse macabre of the masses. No one has focused greater moral clarity on the inhuman conditions and radical inequalities that sustain the mirage of the New Economy."—Mike Davis, author of Ecology of Fear

"The simplicity of these 300 vignettes belies their complexity. They read less like stories and more like prose poetry: each word carefully chosen, each phrase evocative of an entire action or mood . . . [Galeano] entwines family history with highly subjective and selective accounts of geological events, South American history, scientific discoveries, and anthropological observations. The results are disturbing; human inhumanity is a frequent topic."—Library Journal