* If you subscribe to And Other Stories before 6th April 2020, you will receive your copy of Slash and Burn – in which all subscribers are thanked by name – in June 2020, before its official publication, as well as up to five other And Other Stories titles per year. Find out about subscribing to upcoming titles here.
- Slash and Burn was awarded the 2018 PEN/Heim Translation Fund Grant. Read on for Julias’s thoughts and an excerpt.
- Read our interview with Julia Sanches about translating Slash and Burn
- Julia Sanches was listed in the Culture Trip “20 Literary Translators Under 40” series.
- Slash and Burn was chosen by Words Without Borders as one of nine translated books by women to look out for in 2020.
‘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.’