Mabel Moraña is a professor of Spanish at Washington University in St. Louis.Stephanie Kirk is a translator and professor of Hispanic studies at Washington University in St. Louis, working on Latin American literature and translation studies.

“What is most interesting here is MoraÑa’s cross-reading of her writers, the originality of the approach, and the great lengths she goes to interpret the linguistic, political, and cultural importance of Herrera, Melchor, and Luiselli, three young writers that are in the center of the revival of Mexican literature translated into English.” —Pedro Ángel Palou, author of Mestizo Failure(s): Race, Film, and Literature in Twentieth-Century Mexico

• IntroductionChapter 1 | Yuri Herrera: A Distilled and Elliptical ArtChildren’s Stories: Preparing ReadersTalud and Other Stories: Telling the TaleDiez planetas: The Science of FictionTestimonial Virtuosity in El Incendio de la mina El BordoMicrocosmsHuman Bodies versus Legal BodiesTrabajos del Reino: First as Tragedy, then as FarceTragedy, Myth, Fable, and FarceAxes and ParadigmsWhat’s in a Name?The Word, a GlimmerThe Corrido as Social TextCourtly Theater: Dialogic ScenesSeales que Precederán al Fin del Mundo: A Voyage into SilenceJourney as ParadigmWord, Language, Time, Writing: Symbolic DisplacementsBecomingsTradition/Modernity and the Function of Myth“We, the Barbarians”: From Enunciated to EnunciationLa Transmigración de los Cuerpos: “Symbolic Exchange and Death”Mediation and MandateEl Alfaqueque and “The Accursed Share”Social Space and the Place of DeathBody as CommodityCommunity/ImmunityChapter 2 | Fernanda Melchor: Necro-Aesthetics and the “Truth of the Body”(Thankfully) This Is Not MiamiChronicle, Border Narrative, and the Villa Rica of la Vera CruzRegional Identities: Heterogeneity and ConsistencyLights, Fire, and Shadows“Youth, Divine Treasure” in Falsa LiebreThe Devastation of SocietyMapping SubjectivityPerversion, Excess, and GenderTemporada de Huracanes or the Whirlwind of LanguageThe Problem with TruthThe Black Hole of a BrujaPatriarchy and WitchcraftBetween Private and Public Life: Secrets and Gossip(Anti)Modernity and Community in La MatosaChapter 3 | Valeria Luiselli: The Unbearable Lightness of BeingDisplacements, Dispositifs, and GesturesPapeles Falsos: The Exoskeleton and the Seeing EyeThe Map and the HoleLiminality and Name DroppingLos Ingrávidos: Owen and I (or Vice Versa?)The Metaphysics of Presence and the Absence of the SelfMobility and FixityFabricating the Model: Translation and SimulacrumThe Irritating Historia de mis DientesCollectionism and the Aura of the ObjectThe Auction House as Negotiation of MeaningLos Niños Perdidos (Un Ensayo en Cuarenta Preguntas)The Migrant’s Via Crucis and the Theater of BelongingMicrohistory and LiteratureLost Children ArchiveWord and Silence; Body and SpecterExperience, Archive, and NarrationBorder Semiotics and AutofictionLuiselli’s Use of ChildrenElegiac DiscourseNotes

Mabel Moraña is a professor of Spanish at Washington University in St. Louis.Stephanie Kirk is a translator and professor of Hispanic studies at Washington University in St. Louis, working on Latin American literature and translation studies.

“What is most interesting here is MoraÑa’s cross-reading of her writers, the originality of the approach, and the great lengths she goes to interpret the linguistic, political, and cultural importance of Herrera, Melchor, and Luiselli, three young writers that are in the center of the revival of Mexican literature translated into English.” —Pedro Ángel Palou, author of Mestizo Failure(s): Race, Film, and Literature in Twentieth-Century Mexico

• IntroductionChapter 1 | Yuri Herrera: A Distilled and Elliptical ArtChildren’s Stories: Preparing ReadersTalud and Other Stories: Telling the TaleDiez planetas: The Science of FictionTestimonial Virtuosity in El Incendio de la mina El BordoMicrocosmsHuman Bodies versus Legal BodiesTrabajos del Reino: First as Tragedy, then as FarceTragedy, Myth, Fable, and FarceAxes and ParadigmsWhat’s in a Name?The Word, a GlimmerThe Corrido as Social TextCourtly Theater: Dialogic ScenesSeales que Precederán al Fin del Mundo: A Voyage into SilenceJourney as ParadigmWord, Language, Time, Writing: Symbolic DisplacementsBecomingsTradition/Modernity and the Function of Myth“We, the Barbarians”: From Enunciated to EnunciationLa Transmigración de los Cuerpos: “Symbolic Exchange and Death”Mediation and MandateEl Alfaqueque and “The Accursed Share”Social Space and the Place of DeathBody as CommodityCommunity/ImmunityChapter 2 | Fernanda Melchor: Necro-Aesthetics and the “Truth of the Body”(Thankfully) This Is Not MiamiChronicle, Border Narrative, and the Villa Rica of la Vera CruzRegional Identities: Heterogeneity and ConsistencyLights, Fire, and Shadows“Youth, Divine Treasure” in Falsa LiebreThe Devastation of SocietyMapping SubjectivityPerversion, Excess, and GenderTemporada de Huracanes or the Whirlwind of LanguageThe Problem with TruthThe Black Hole of a BrujaPatriarchy and WitchcraftBetween Private and Public Life: Secrets and Gossip(Anti)Modernity and Community in La MatosaChapter 3 | Valeria Luiselli: The Unbearable Lightness of BeingDisplacements, Dispositifs, and GesturesPapeles Falsos: The Exoskeleton and the Seeing EyeThe Map and the HoleLiminality and Name DroppingLos Ingrávidos: Owen and I (or Vice Versa?)The Metaphysics of Presence and the Absence of the SelfMobility and FixityFabricating the Model: Translation and SimulacrumThe Irritating Historia de mis DientesCollectionism and the Aura of the ObjectThe Auction House as Negotiation of MeaningLos Niños Perdidos (Un Ensayo en Cuarenta Preguntas)The Migrant’s Via Crucis and the Theater of BelongingMicrohistory and LiteratureLost Children ArchiveWord and Silence; Body and SpecterExperience, Archive, and NarrationBorder Semiotics and AutofictionLuiselli’s Use of ChildrenElegiac DiscourseNotes