Hectic Ethics

Unlike many Latin American writers whose work has been published in the United States, Francisco Hinojosa does not rely on magical realism, exotic recipes or cultural nostalgia. Rather, his stories convey a mercilessly sardonic view of family and society, and his ingenious array of anti-heroes embodies a conspicuous disdain for convention. Here, in eight masterly stories that are as cruel and pitiless as they are hilarious, he explores the complexities of love and human relationships. These fiercely funny picaresque adventures are peopled with characters who inspire feelings of both solidarity and derision, but let the reader beware: just when you find yourself laughing out loud, you might recognize your reflection in the funhouse mirror. "Francisco Hinojosa's stories are like a Mozart overture executed by a crazed orchestra playing noisemakers instead of violins." -- Giullermo Sheridan "Known as the Mexican Brother Grimm, Hinojosa is internationally recognized for his children's fairy tales (The Old Lady Who Ate People). This collection offers eight of his brief experimental fables for adults contending with the absurdities of 20th-century life...this a spirited and amusing book. In a new version of the creation story, God, bored by a regime of 'loneliness and silence' he has impetuously imposed, grows desperate to hear anything: 'he'd even be content with a poetry reading.' In another tale, an artist confesses a tryst to his wife because he had 'always believed that women can tell when a man has slept with an actress.' The translation is generally solid, especially given the challenges of experimental fiction. One hopes that more of Hinojosa's grown-up fables will be made available in English."--Publishers Weekly "A bright star in the Mexican literary firmament can now be enjoyed by U.S. readers in this first English translation of Hinojosa's work. The eight stories in this knockout collection reveal in no uncertain terms Hinojosa's mastery over a rewarding form, which he has tailored to fit his own personal expression. The short story thrives because of its flexibility, the elasticity of its definition; and this author manipulates the form with razor-sharp deftness and remarkable ingenuity. He writes sparingly but can hardly be called a minimalist, a label that tends to suggest a certain blandness of prose style. Instead, he luxuriates in language while stripping plot and...