Claudia Hernández is the highly acclaimed author of five short story collections. Her work has appeared in various anthologies in Spain, Italy, France, Germany, Israel and the USA. She was the winner of the Anna Seghers Foundation award (2004), which acknowledges authors interested in making a more just and more humane society through their artistic production. The National Endowment for the Arts has supported the English translation of some of her books that explore the brutal impact of the El Salvadorian Civil War. Hernández won the prestigious Juan Rulfo Prize in 1998 and was one of Hay’s Bogota 39 authors in 2007. She currently teaches at the Universidad Centroamericana José Simeón Cañas (UCA) in El Salvador.
‘It is astonishing that someone can write in such a clean and transparent way about a turbulent past. Claudia Hernández's prose is the controlled breathing of someone who knows that memory is another battlefield. Claudia Hernández, like her protagonists, lucid and tough women, knows how to cross these battlefields. roza tumba quema confirms that she is one of the best writers in our language.’
Horacio Castellanos Moya, author of The Dream of My Return
‘Claudia Hernández is one of the most groundbreaking short story writers from Central America, with a way of approaching the story that is closer to Virgilio Piñera o Felisberto Hernández than to the realist tradition. Her five story collections prove this. Now, with her first novel, Claudia Hernández takes on a new challenge: telling the recent history of El Salvador through three generations of women scarred by civil war, poverty and emigration. A pulsating feminine universe, full of strength and courage, in permanent wait of the violence that surrounds it. An intense and moving novel, and a very revealing way of storytelling that will captivate the reader.’
The Spanish Bookstage, “Weekly Choice”
‘There is a surreal, dreamlike quality to this challenging story. Devoid of names or places, it abounds with memories of violence told in a third-person bordering on the first, both because of the randomness of events depicted and the naivety and warmth of the language that recounts the almost child-like aspects of the war, always through eyes and a voice that are, above all, feminine.’