'Melchor evokes the stories of Flannery O'Connor, or, more recently, Marlon James's A Brief History of Seven Killings. Impressive.'
Julian Lucas, New York Times
'Fernanda Melchor has a powerful voice, and by powerful I mean unsparing, devastating, the voice of someone who writes with rage and has the skill to pull it off.'
Samanta Schweblin, author of Fever Dream
'Time spent with her writing leaves no doubt: the unholy noise she creates is the work of someone who knows exactly which notes to hit.'
- Chris Power, Guardian
'She isn't holding a Stendhalian mirror up to Mexican society; she's dissecting its body and its psyche at the same time, unafraid of what she might find. ... In Melchor's world, there's no resisting the violence, much less hating it. All a novelist can do, she seems to suggest, is take a long, unsparing look at the hell that we've made.'
- Juan Gabriel Vazquez, New Yorker
'In addition to bravely presenting dark truths, Melchor writes from a good heart...Melchor makes her point (not without sorrow and gruesome humor), then gets out of the way, so that her subjects can speak.'
- William T. Vollmann, New York Times
'Melchor isn't inventing anything in broad strokes...She's not playing with facts so much as how facts are delivered - oral history, first person, second person, ghost story, legend. A lesser journalist massages details to more perfectly fit a narrative. Melchor is doing something more like the opposite: playing with form to expose the lies, hypocrisies, hatreds and oversights that soften or avoid the reality of human evil. Melchor isn't claiming to know the whole story. But what she means to say is that we should think twice before we do as well.'
- Mark Athitakis, Los Angeles Times
'Skillfully translated by Hughes, this is a book that's as gorgeous as it is dark, and it proves that Melchor is one of the finest writers working today. Absolutely stunning.'
-Kirkus starred review
'Melchor resists the seductive burden of explaining the realities (or exaggerations) of such non-European regions in blistering, true-crime detail. Though based on real events, these relatos are decidedly not journalistic, and not even realist. Melchor's prose blooms under that strange light.'
- Lisa Yin Zhang, Frieze
