Dahlia de la Cerda is a writer and activist based in Aguascalientes, Mexico. She is the author of Reservoir Bitches, which was longlisted for the 2025 International Booker Prize. Its Spanish original, Perras de Reserva, won the 2019 Premio Nacional de Cuento Joven Comala. De la Cerda is also the cofounder of the feminist organisation Morras Help Morras.Julia Sanches translates literature from Spanish, Portuguese, and Catalan into English. Born in Brazil, she now lives in Providence, Rhode Island.Heather Cleary is an award-winning translator of poetry and prose whose work has been recognised by English PEN, the National Book Foundation, and the Mellon Foundation, among others.

‘Reservoir Bitches is a blisteringly urgent collection of interconnected stories about contemporary Mexican women. It absolutely bangs from the first page to the last. It’s extremely funny but deadly serious and we loved the energy and flair of the dual translators’ approach. It packs an enormous political and linguistic punch but is also subtle, revelatory and moving about the ways in which these women hustle, innovate, survive or don’t, in a world of labyrinthine dangers. This book weaves the riotous testimony of the living and the dead to create an expletive-rich feminist blast of Mexican literature.’

Dahlia de la Cerda is a writer and activist based in Aguascalientes, Mexico. She is the author of Reservoir Bitches, which was longlisted for the 2025 International Booker Prize. Its Spanish original, Perras de Reserva, won the 2019 Premio Nacional de Cuento Joven Comala. De la Cerda is also the cofounder of the feminist organisation Morras Help Morras.Julia Sanches translates literature from Spanish, Portuguese, and Catalan into English. Born in Brazil, she now lives in Providence, Rhode Island.Heather Cleary is an award-winning translator of poetry and prose whose work has been recognised by English PEN, the National Book Foundation, and the Mellon Foundation, among others.

‘Reservoir Bitches is a blisteringly urgent collection of interconnected stories about contemporary Mexican women. It absolutely bangs from the first page to the last. It’s extremely funny but deadly serious and we loved the energy and flair of the dual translators’ approach. It packs an enormous political and linguistic punch but is also subtle, revelatory and moving about the ways in which these women hustle, innovate, survive or don’t, in a world of labyrinthine dangers. This book weaves the riotous testimony of the living and the dead to create an expletive-rich feminist blast of Mexican literature.’