Lucía Lijtmaer (Buenos Aires, 1977) grew up in Barcelona. She is a writer and cultural critic. She has published the chronicles Quiero los secretos del Pentágono (I Want the Pentagon's Secrets) (2015), Casi nada que ponerte (Hardly Anything to Wear) (2016) and the essays Yo también soy una chica lista (I'm a Smart Girl, Too) (2017), Cultura en Tensión (Culture in Tension) (2016) and Ofendiditos, la criminalización de la protesta (Offended: the Criminalization of Protest) (2019). She regularly writes for El País , El Periódico de Catalunya, and collaborates with RAC1. She's the curator of the festival of guerrilla and feminist culture 'Princesses and DarthVaders', and together with Isa Calderón, she codirects the cultural podcast 'Deforme Semanal' on Radio Primavera Sound, winner of the 2021 Ondas Award for Best Podcast and of the 2022 Ondas Globales Prize for the Podcast. Maureen Shaughnessy is a writer and translator from Spanish. Her work has appeared in The Paris Review , Brick , AGNI and Asymptote . In 2023, her translation of Belén López Peiró’s Why Did You Come Back Every Summer received an English PEN Translates Award. She lives in Bariloche, Argentina.

"There’s beauty, power and violence in these women’s stories; and their desires – whether for freedom or revenge – burn a hot, bloody red... A superb debut." —The Telegraph"Never heavy but ultimately satisfying, this is literary fiction done to the highest standards yet without pretension." —Never Imitate"A powerful book [that] manages something I’ve never really read before. I was entranced." —Mark Haber , author of LESSER RUINS "A searing, twisted feast." —Laura Fernández"Lucía Lijtmaer is a powerful voice." —Enrique Vila-Matas , author of DUBLINESQUE "Lucía Lijtmaer constructs a story that is not only moving and imaginative but also indispensable." —Agustín Fernández Mallo , author of NOCILLA TRILOGY "Sharply drawn scenes, packed with lyrical introspection and a cutting tone... [the characters] are rendered with refreshing honesty." —Frieze"A display of talent and skill. A novel that signals, wounds, accompanies and unsettles." —El País"In spite of its swift prose and constant play with black humour and an occasionally brutal mordacity, [the book] overflows with the complexity typical of one of the most perceptive socio-cultural analysts on the contemporary intellectual scene." —Contrapunto"The novel works like the surgical instrument that gives it its name: it is able to open the flesh and make a wound, and then cauterise it, causing a burning that heals as it vanishes." —eldiario.es"Masterful." —Clarín"Lijtmaer's most ambitious novel since she began her literary career." —Infobae"The intelligent construction and well-crafted prose makes this a captivating story." —Diario Cine y Literatura CL

Lucía Lijtmaer (Buenos Aires, 1977) grew up in Barcelona. She is a writer and cultural critic. She has published the chronicles Quiero los secretos del Pentágono (I Want the Pentagon's Secrets) (2015), Casi nada que ponerte (Hardly Anything to Wear) (2016) and the essays Yo también soy una chica lista (I'm a Smart Girl, Too) (2017), Cultura en Tensión (Culture in Tension) (2016) and Ofendiditos, la criminalización de la protesta (Offended: the Criminalization of Protest) (2019). She regularly writes for El País , El Periódico de Catalunya, and collaborates with RAC1. She's the curator of the festival of guerrilla and feminist culture 'Princesses and DarthVaders', and together with Isa Calderón, she codirects the cultural podcast 'Deforme Semanal' on Radio Primavera Sound, winner of the 2021 Ondas Award for Best Podcast and of the 2022 Ondas Globales Prize for the Podcast. Maureen Shaughnessy is a writer and translator from Spanish. Her work has appeared in The Paris Review , Brick , AGNI and Asymptote . In 2023, her translation of Belén López Peiró’s Why Did You Come Back Every Summer received an English PEN Translates Award. She lives in Bariloche, Argentina.

"There’s beauty, power and violence in these women’s stories; and their desires – whether for freedom or revenge – burn a hot, bloody red... A superb debut." —The Telegraph"Never heavy but ultimately satisfying, this is literary fiction done to the highest standards yet without pretension." —Never Imitate"A powerful book [that] manages something I’ve never really read before. I was entranced." —Mark Haber , author of LESSER RUINS "A searing, twisted feast." —Laura Fernández"Lucía Lijtmaer is a powerful voice." —Enrique Vila-Matas , author of DUBLINESQUE "Lucía Lijtmaer constructs a story that is not only moving and imaginative but also indispensable." —Agustín Fernández Mallo , author of NOCILLA TRILOGY "Sharply drawn scenes, packed with lyrical introspection and a cutting tone... [the characters] are rendered with refreshing honesty." —Frieze"A display of talent and skill. A novel that signals, wounds, accompanies and unsettles." —El País"In spite of its swift prose and constant play with black humour and an occasionally brutal mordacity, [the book] overflows with the complexity typical of one of the most perceptive socio-cultural analysts on the contemporary intellectual scene." —Contrapunto"The novel works like the surgical instrument that gives it its name: it is able to open the flesh and make a wound, and then cauterise it, causing a burning that heals as it vanishes." —eldiario.es"Masterful." —Clarín"Lijtmaer's most ambitious novel since she began her literary career." —Infobae"The intelligent construction and well-crafted prose makes this a captivating story." —Diario Cine y Literatura CL

Lucía Lijtmaer (Buenos Aires, 1977) grew up in Barcelona. She is a writer and cultural critic. She has published the chronicles Quiero los secretos del Pentágono (I Want the Pentagon's Secrets) (2015), Casi nada que ponerte (Hardly Anything to Wear) (2016) and the essays Yo también soy una chica lista (I'm a Smart Girl, Too) (2017), Cultura en Tensión (Culture in Tension) (2016) and Ofendiditos, la criminalización de la protesta (Offended: the Criminalization of Protest) (2019). She regularly writes for El País , El Periódico de Catalunya, and collaborates with RAC1. She's the curator of the festival of guerrilla and feminist culture 'Princesses and DarthVaders', and together with Isa Calderón, she codirects the cultural podcast 'Deforme Semanal' on Radio Primavera Sound, winner of the 2021 Ondas Award for Best Podcast and of the 2022 Ondas Globales Prize for the Podcast. Maureen Shaughnessy is a writer and translator from Spanish. Her work has appeared in The Paris Review , Brick , AGNI and Asymptote . In 2023, her translation of Belén López Peiró’s Why Did You Come Back Every Summer received an English PEN Translates Award. She lives in Bariloche, Argentina.

"There’s beauty, power and violence in these women’s stories; and their desires – whether for freedom or revenge – burn a hot, bloody red... A superb debut." —The Telegraph"Never heavy but ultimately satisfying, this is literary fiction done to the highest standards yet without pretension." —Never Imitate"A powerful book [that] manages something I’ve never really read before. I was entranced." —Mark Haber , author of LESSER RUINS "A searing, twisted feast." —Laura Fernández"Lucía Lijtmaer is a powerful voice." —Enrique Vila-Matas , author of DUBLINESQUE "Lucía Lijtmaer constructs a story that is not only moving and imaginative but also indispensable." —Agustín Fernández Mallo , author of NOCILLA TRILOGY "Sharply drawn scenes, packed with lyrical introspection and a cutting tone... [the characters] are rendered with refreshing honesty." —Frieze"A display of talent and skill. A novel that signals, wounds, accompanies and unsettles." —El País"In spite of its swift prose and constant play with black humour and an occasionally brutal mordacity, [the book] overflows with the complexity typical of one of the most perceptive socio-cultural analysts on the contemporary intellectual scene." —Contrapunto"The novel works like the surgical instrument that gives it its name: it is able to open the flesh and make a wound, and then cauterise it, causing a burning that heals as it vanishes." —eldiario.es"Masterful." —Clarín"Lijtmaer's most ambitious novel since she began her literary career." —Infobae"The intelligent construction and well-crafted prose makes this a captivating story." —Diario Cine y Literatura CL