* 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.
‘An indictment of the inherent misogyny of war and an homage to the women who tirelessly fight for justice and survival on all fronts. But hers is not simply a literature of denunciation, for in the same pages she shows, with fierce heart, the ways women refuse to be crushed, the sometimes broken ways they manage to take care of each other and struggle to survive.’
‘Extraordinary and utterly gripping, a work of brutally profound beauty and universal significance’
‘What does it truly mean to be at peace following a war? Slash and Burn is a deeply thoughtful and empathetic examination of how a civil war is inherited, and how it affects subsequent generations of women. Stylistically brave and thematically bold, it is essential, necessary reading for understanding the transition from combatant to civilian, and what historical and national trauma look like on a personal level.’
‘After reading far too many books about the Central American guerrilla told by and about men, I welcome this terrific novel that delves into the stories of women who come of age during and after war. In Slash and Burn, the aspirations, labour and education of women, as well as motherhood, love, reconciliation and exile, are tied together in sharp, profound prose you can't stop reading.’
‘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. Slash and Burn confirms that she is one of the best writers in our language.’
Horacio Castellanos Moya
‘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 energy and courage, despite the permanent threat of violence that surrounds it. An intense and moving novel, and a very intriguing way of storytelling that will captivate the reader.’
‘Slash and Burn is an incisive look into the lasting wounds of El Salvador's Civil War. It is a tale of generational healing and resilience centred on its women. Hernández is a calm, cutting voice on how what is broken must be put back together.’
‘Slash and Burn reimagines the country through the voices of mothers, daughters and wives. The female gaze cuts sharp in this retelling.’
Mauro Javier Cardenas
‘Claudia Hernández's extraordinary novel Slash and Burn has an embattled, unsentimental narrative style, with swift shifts of point of view to voices that are often telling her characters what isn’t possible, and a future tense that dramatizes the (im)possibilities for her and her family. Slash and Burn is destined to become a classic.’
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.’