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                <text>&lt;a href="https://www.harpercollins.com/products/ola-detenida-juan-carlos-mendez-guedez?variant=32116323516450"&gt;HarperCollins Español&lt;/a&gt;</text>
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                <text>Literature, Fiction, Politics, Caracas, Venezuela, María Lionza, Spiritism, Migration, Return, 21st Century, Juan Carlos Méndez Guédez</text>
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                <text>&lt;p&gt;David de Sousa returns to Caracas to be with his ailing mother in what appears to be her final days. After several years away, his visit opens the door to a reflection that delves not only into death but also into desire, uprootedness, erudition and barbarism, aesthetics and pain.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;"Besieged by orphanhood, guilt, and desire, David will find in the meticulous reconstruction of his past the ideal space to seek a glimmer of light amid the darkness of his instincts. Body and spirit, emotions and intellect, the ordinary and the sublime confront one another, suggesting a way to dissolve the heavy armor of reason and perhaps—just perhaps—find a second chance at life."&lt;/strong&gt; —Arturo Ramírez&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;"By contrasting the narrator’s sophistication with the rawness of reality, the novel journeys through memory, always searching and confirming, in different registers, all the lost territories: family, homeland, love… With this new novel, Miguel Gomes solidifies his unique and distinctive voice, an essential presence in contemporary Latin American literature."&lt;/strong&gt; —Alberto Barrera Tyszka&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;Translated from Spanish by Archivo Venezuela.&lt;/em&gt;&lt;/p&gt;</text>
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                <text>"Presented as a literary collage composed of letters, poems, fragmented narratives, and family anecdotes, Hormigas en la lengua delves into the games, wounds, reflections, pleasures, and fears of childhood. What sets this portrait apart is Yau’s narrative choice: telling the story through gastronomy. Through food—both as a theme and a lens—the transformations of each character are vividly sketched with an agile, graceful, and unembellished prose. This debut novel introduces one of the most promising voices in contemporary Venezuelan fiction." (Publisher, translated from Spanish by Archivo Venezuela)</text>
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                <text>"Grandmother Eloísa, a formidable woman and an avid participant in literary resistance circles. Grandfather Diego, a high-ranking military officer who conspires against the dictatorship while attempting to conceal his democratic past, alongside his brother Segismundo, the inventor of an electromagnetic ship that could threaten the oil industry. Uncle Salvador, a communist guerrilla who hijacked an ocean liner in a bid to liberate the Iberian Peninsula from the dictatorships of Salazar and Franco. The granddaughter and her friend Delfina, rebels without a cause, setting off in search of a place that may not even exist.&#13;
&lt;p&gt;These and other characters—romantic yet crushed by the weight of history—inhabit the pages of this portrait of modern Venezuela, a stage where, from Pérez Jiménez to Hugo Chávez, the tensions of Caribbean (and global) geopolitics have steadily dissolved. Magdalena López makes her debut with this ambitious family novel, blending the epistolary genre with first-person narration to explore disputes over inheritances, secret children, and personal disillusionments. A choral mosaic, interwoven with the voices of the living and the dead, the novel carries echoes of the dictator novel and the grand tradition of Latin American fiction, as well as the polyphonic style of Faulkner. Written in the expressive, everyday Spanish of Caracas, the author experiments with a “writing of ruins” in an attempt to reconstruct the remnants of a family and a country—or of what they might have become" (La Moderna, translated from Spanish by Archivo Venezuela).&lt;/p&gt;</text>
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                <text>"&lt;strong&gt;&lt;em&gt;Minerva&lt;/em&gt;&lt;/strong&gt; tells the story of a young woman born into a polyamorous Venezuelan family with fluid sexuality, consisting of her mother, a fashion designer, and her two fathers: a former political prisoner of Franco’s dictatorship and a theater art director. Raised in a conservative, peripheral, and deeply divided country, Minerva learns early on to fight against prejudice and to navigate both inherited and self-imposed boundaries. The hostile environment of early 21st-century Venezuela forces her into exile in New York, where she pursues her dream of becoming a ballet dancer while working as a nude model for artists. Living alongside other migrants ultimately reveals to her the power of solidarity and emotional bonds as a path to both redemption and self-affirmation. &lt;br /&gt;&lt;em&gt;Minerva&lt;/em&gt; is a contemporary coming-of-age novel with a distinctly feminine voice" (Editorial Pre-Textos, translated from Spanish by Archivo Venezuela).&lt;br /&gt;&lt;br /&gt;"&lt;a href="https://regalhousepublishing.com/keila-vall-de-la-ville/"&gt;Regal House Publishing is delighted to bring you the English translation of Keila Vall de la Ville’s Minerva in 2026."&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Versión en español de esta entrada disponible en&lt;/strong&gt; &lt;a href="https://archivovenezuela.com/items/show/69"&gt;https://archivovenezuela.com/items/show/69&lt;/a&gt;.</text>
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&lt;h3&gt;&lt;a href="https://latinamericanliteraturetoday.org/book_review/minerva-by-keila-vall-de-la-ville/"&gt;Review by Claudia Cavallin published in &lt;em&gt;Latin American Literature Today.&lt;/em&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;/h3&gt;&#13;
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                <text>&lt;h3&gt;&lt;strong&gt;Synopsis&lt;/strong&gt;&lt;/h3&gt;&#13;
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&lt;p&gt;A new voice worth reading.&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;"Life in the revolution was beautiful as long as it remained a promise. Then came the failures—those of the country and his own. When Nina asked for a divorce, Camilo not only separated from her but also from their daughter, Elisa: it was all three of them, or none at all. In 2018, while Camilo watches the crisis unfold from his window, Nina is struck head-on by it. His father, the country, and the revolution seem to have died at the same time. After Nina leaves for Brazil, leaving Elisa with her grandmother, Camilo reappears with a proposal for the girl. What, to him, is a desperate attempt to reclaim his family, to Nina is merely an intimate replica of the national authoritarianism he wields so well.&lt;/em&gt;&lt;/p&gt;&#13;
&lt;p&gt;Through masterful control of time, action, and narrative structure, the novel aligns itself with the modern storytelling tradition inaugurated by Flaubert in &lt;em&gt;Sentimental Education&lt;/em&gt;, where, for the first time, History was seamlessly interwoven with the protagonist’s personal conflicts. With a colloquial style rich in musicality and striking expressive discoveries, &lt;em&gt;Volver a Cuándo&lt;/em&gt; explores, through the drama of a family caught in the social consequences of post-Chávez Venezuela, how ideals and hopes endure—and in what conditions—amid the minefield of reality."&lt;br /&gt;(Source: Siruela)&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;"A novel of immense literary significance about Venezuelan migration."&lt;/strong&gt;&lt;br /&gt;—Diego Gándara, &lt;em&gt;La Razón&lt;/em&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;"&lt;em&gt;Volver a Cuándo&lt;/em&gt; sweeps you up, shakes you, fills you with hope, exhausts you, and moves you. Like living another life—one harder, more intense than your own. Like mourning what will never be."&lt;/strong&gt;&lt;br /&gt;—&lt;em&gt;Ahora Qué Leo&lt;/em&gt;, La Sexta&lt;/p&gt;&#13;
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&lt;p&gt;(Source: SEMINCI, translated from Spanish by Archivo Venezuela).&lt;/p&gt;</text>
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                <text>"He lives with Marina in an apartment where the sound of police and ambulance sirens echoes daily. The country he finds himself in has become a state of turmoil, mirroring the deterioration of his weary relationship. Their breakup accelerates as he obsessively searches for his first adolescent love. But reviving the past triggers unforeseen events in a place marked by instability and violence. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Amar a Olga&lt;/em&gt; explores the dynamics of romantic relationships, breakups, and reconciliations as ways of confronting the past and resolving unfinished business. It is a story that portrays escape as a search for meaning in a hostile world, where memory is both a lurking threat and the force that sets an unexpected accident in motion. (Pre-Textos, translated from Spanish by Archivo Venezuela).</text>
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&lt;p&gt;&lt;strong&gt;FEROCES&lt;/strong&gt; brings together furtive encounters with mythological creatures, twins violently attempting to merge back into one, a home that consumes the souls of its tenants, trapping them forever, and encounters with blood—blood that is eroticized, superstitious, frenzied, and vengeful. The stories in &lt;em&gt;FEROCES&lt;/em&gt; are both wild and ruthless, a reflection of writers who unleash their narratives with unrelenting force. This anthology showcases the voices of nine young Venezuelan authors, bound together by their visceral exploration of femininity—or rather, by their destruction of traditional notions of femininity. And this destruction is voracious. The collection serves as a record of a literary movement, an expression that is both brutal and exquisite, and a testament to the mature reflections of Venezuela’s current generation of women writers (&lt;em&gt;Feroces&lt;/em&gt;).&lt;/p&gt;&#13;
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                <text>&lt;p&gt;&lt;em&gt;Botella imposible&lt;/em&gt; is also a kind of micro &lt;em&gt;bildungsroman&lt;/em&gt;, divided into three parts: the first, titled &lt;em&gt;El niño siempre quiere huir&lt;/em&gt; (&lt;em&gt;The child always wants to run away&lt;/em&gt;); the second, &lt;em&gt;Era la primera vez que me dejaban salir solo…&lt;/em&gt; (&lt;em&gt;It was the first time they let me go out alone…&lt;/em&gt;); and the third, &lt;em&gt;Madurar es disociar…&lt;/em&gt; (&lt;em&gt;To mature is to dissociate…&lt;/em&gt;). As poets often do—and Ricardo is one, and a very good one—these titles correspond to the opening lines of each respective section. The book follows a roughly chronological and cohesive path (childhood, adolescence and early youth, adulthood), in excellent company, featuring numerous references to renowned writers, both in literature and in drink: Abelardo Castillo, John Cheever, Marguerite Duras, Lucia Berlin, and Julio Ramón Ribeyro, among others.&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;Botella imposible&lt;/em&gt; carries within its project its own impossibility. But impossibility of what? Of making peace with the past? Of sending a message in a bottle to that unreachable child? Of forging a path to reconnect with our emotions? Perhaps the impossibility of not feeling guilt? Of saving ourselves from the loose ends our parents leave behind? The book navigates both a family tradition of drinking and a broader societal alcoholism. For those of us who grew up in Venezuela, we know well that intoxication is as idiosyncratic as the &lt;em&gt;arepa &lt;/em&gt;(&lt;a href="https://prodavinci.com/botella-imposible-las-borrachografias-de-ricardo-anez-montiel/"&gt;Gustavo Valle, translated from Spanish by Archivo Venezuela&lt;/a&gt;).&lt;/p&gt;</text>
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                <text>&lt;a href="https://www.excentrica.com.ar/botella-imposible/"&gt;Fragmento de &lt;em&gt;Botella imposible&lt;/em&gt;&lt;/a&gt;&lt;em&gt;.&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;a href="https://www.instagram.com/reel/C3nNSobOEbu/"&gt;Ricardo Áñez Montiel lee un fragmento de &lt;/a&gt;&lt;em&gt;&lt;a href="https://www.instagram.com/reel/C3nNSobOEbu/"&gt;Botella imposible&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;a href="https://prodavinci.com/botella-imposible-las-borrachografias-de-ricardo-anez-montiel/?q"&gt;Reseña de Gustavo Valle&lt;/a&gt;.&lt;em&gt;&lt;br /&gt;&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/N0KKD6PzEvA?si=lmxvdkURFEuyl_Yb" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt; &lt;br /&gt;&lt;br /&gt;&lt;/em&gt;Ricardo Áñez Montiel en el X Festival de Poesía de Maracaibo.</text>
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                <text>&lt;a href="https://edicioneslapalma.com/otras-narrativas/273-la-sonrisa-de-los-hipopotamos.html"&gt;Ediciones La Palma&lt;/a&gt;</text>
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                <text>"Juan Carlos Chirinos has brought together in this volume eleven texts that were previously scattered across various anthologies published in Europe and the Americas. The common thread, as the author himself states, is &lt;em&gt;"a voice beyond the voice I have imagined, one that only you, the attentive reader, will be able to hear—if occasion and desire align."&lt;/em&gt;&#13;
&lt;p&gt;Desire comes to life in each of these stories, where the voice of the author of &lt;em&gt;La manzana de Nietzsche&lt;/em&gt;—published in this collection in 2015—returns once more. In many ways, &lt;em&gt;La sonrisa de los hipopótamos&lt;/em&gt; stands as its peculiar heir" (&lt;a href="https://edicioneslapalma.com/otras-narrativas/273-la-sonrisa-de-los-hipopotamos.html"&gt;Ediciones La Palma, translated from Spanish by Archivo Venezuela&lt;/a&gt;).&lt;/p&gt;</text>
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                <text>&lt;p&gt;From a very young age, Boris knows he is different. Early on, he is diagnosed with motor skill difficulties and dyslexia, and he displays mannerisms and a way of speaking that seem effeminate. Adults whisper that his mother, Belén—a renowned dancer—and his father, a film critic, surround him with bad influences. In Caracas, people talk about her intellectual friends and the homosexual circles she works with. They also say that Boris is in love with Gerardo, the son of influential journalist Altagracia Orozco.&lt;/p&gt;&#13;
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&lt;p&gt;School days, a love, an assault, silence; his first steps as a columnist and telenovela writer; his rise to fame in Spain with &lt;em&gt;Crónicas marcianas&lt;/em&gt;; becoming a finalist for the Premio Planeta; glamour, the abyss, love, and violence once more—this deeply moving and immersive autobiographical novel sees Boris Izaguirre piece together a life that is sometimes complicated, always passionate, unfolding between two countries that, like him, were also coming of age (&lt;a href="https://www.planetadelibros.com/libro-tiempo-de-tormentas/265120"&gt;Planeta, translated from Spanish by Archivo Venezuela&lt;/a&gt;).&lt;/p&gt;</text>
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&lt;li&gt;&lt;a href="https://proassetspdlcom.cdnstatics2.com/usuaris/libros_contenido/arxius/38/37612_Tiempo_de_tormentas.pdf"&gt;&lt;em&gt;Excerpt from Tiempo de tormentas&lt;/em&gt;&lt;/a&gt;.&lt;/li&gt;&#13;
&lt;li&gt;&lt;em&gt;Tiempo de tormentas (eBook) available on&lt;/em&gt;&amp;nbsp;&lt;a href="https://archive.org/details/TiempoDeTormentasBorisIzaguirre"&gt;Archive.org.&lt;/a&gt;&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/N_64yII2VrU?si=L_2rdgCWZUmq1MMB" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt; &lt;br /&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;&lt;em&gt;Interview with Boris Izaguirre on the release of Tiempo de tormentas &lt;/em&gt;(Tele7Radio7).&lt;/li&gt;&#13;
&lt;/ul&gt;</text>
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                <text>Review by Raquel Rivas Rojas in&lt;a href="https://latinamericanliteraturetoday.org/es/rese%C3%B1as/abecedario-del-estio-liliana-lara-2/"&gt;&lt;em&gt;&amp;nbsp;Latin American Literature Today&lt;/em&gt;&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;Liliana Lara in &lt;a href="https://shortstoryproject.com/writers/liliana-lara/"&gt;&lt;em&gt;The Short Story Project&lt;/em&gt;&lt;/a&gt;.</text>
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                <text>Printed book, eBook</text>
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              <elementText elementTextId="737">
                <text>"&lt;strong&gt;Kathy Serrano&lt;/strong&gt;&lt;span&gt;&amp;nbsp;(San Cristóbal, Táchira, Venezuela, 1968). Actriz, directora de teatro y escritora peruano-venezolana. Máster en Artes por el Instituto Estatal Ruso de Artes Escénicas de San Petersburgo. Sus cuentos aparecen en&amp;nbsp;&lt;/span&gt;&lt;em&gt;Una voz que existe&lt;/em&gt;&lt;span&gt;&amp;nbsp;(Planeta, 2019),&amp;nbsp;&lt;/span&gt;&lt;em&gt;Historias mínimas. Microficción&lt;/em&gt;&lt;span&gt;&amp;nbsp;(Dendro, 2020),&amp;nbsp;&lt;/span&gt;&lt;em&gt;El día que regresamos&lt;/em&gt;&lt;span&gt;&amp;nbsp;(Pandemonium, 2020),&lt;/span&gt;&lt;em&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;En el camino. Nuevas voces de la minificción latinoamericana&lt;/em&gt;&lt;span&gt;&amp;nbsp;(Quarks, 2020),&amp;nbsp;&lt;/span&gt;&lt;em&gt;21. Relatos sobre mujeres que lucharon por la Independencia del Perú&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/em&gt;&lt;span&gt;(Petroperú, 2021) y&amp;nbsp;&lt;/span&gt;&lt;em&gt;Ucrónica. Rutas alternativas a la realidad&lt;/em&gt;&lt;span&gt;&amp;nbsp;(Pandemonium, 2021). Dirige laboratorios de escritura creativa en la escuela de escritura creativa «La isla». Su primer libro,&amp;nbsp;&lt;/span&gt;&lt;em&gt;Húmedos, sucios y violentos&lt;/em&gt;&lt;span&gt;&amp;nbsp;(Estruendomudo, 2020), fue nominado a mejor libro de cuentos en el Premio Luces 2020 del diario&amp;nbsp;&lt;/span&gt;&lt;em&gt;El Comercio&lt;/em&gt;" (&lt;a href="https://www.planetadelibros.com.pe/autor/kathy-serrano/000051985"&gt;Planeta&lt;/a&gt;).&lt;br /&gt;&lt;br /&gt;&lt;a href="https://planetadelibrospe0.cdnstatics.com/libros_contenido_extra/50/49684_1_(Fragmento)_El_dolor_de_la_sangre.pdf"&gt;Fragmento de&amp;nbsp;&lt;em&gt;El dolor de la sangre.&lt;/em&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://latinamericanliteraturetoday.org/es/rese%C3%B1as/el-dolor-de-la-sangre-de-kathy-serrano/"&gt;Reseña de Sophia Gómez Cardeña&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/eY9gQofeb44?si=9FibEgavI4SgXR3q" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt; &lt;br /&gt;Entrevista a Kathy Serrano con motivo de la publicacion de&amp;nbsp;&amp;nbsp;&lt;em&gt;El dolor de la sangre.&lt;/em&gt;</text>
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                <text>2022</text>
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                <text>Spanish</text>
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              <elementText elementTextId="875">
                <text>&lt;p&gt;Martha, a renowned Venezuelan photographer living in Lima, receives an unexpected assignment to do a photo shoot in her home country. Along with this invitation, memories of her childhood begin to haunt her—like a slow-burning fire coursing through her veins—awakening fears she has spent years trying to escape. Faced with the inevitable reunion with her family, and despite a growing sense of suffocation that unsettles her, Martha fights to preserve the fragile stability of the life she has carefully built as an adult.&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;El dolor de la sangre&lt;/em&gt;, Kathy Serrano’s debut novel, takes us on a journey through a family’s past, where trauma lurks in the shadows of memory. With a prose that flirts with both sensuality and horror, Serrano crafts a harrowing yet compelling exploration of identity, fear, and the weight of personal history&amp;nbsp;(&lt;a href="https://www.planetadelibros.com.pe/libro-el-dolor-de-la-sangre/352251"&gt;Planeta&lt;/a&gt;, translated from Spanish by Archivo Digital).&lt;/p&gt;</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>ISBN: 9786123197421, 6123197428</text>
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