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Lit by the hormonal neon glow of Miami, this heady, multilingual debut novel follows a Colombian teenager’s coming-of-age and coming out as she plunges headfirst into lust and evangelism. “Ebullient and assertive. . . . Francisca’s soul stinks up the place beautifully in Fiebre Tropical .” — The New York Times "Juli Delgado Lopera—remember that name—is an irreverent, shameless and disarming new novelist. They are a merciless satirist in control of a pitch-perfect voice that makes an indisputable case for Spanglish as the perfect vehicle to express what we are really like right now."  —NBC News “A layered portrait of exile, sexual awakening, and family bonds.” — The Millions “ Fiebre Tropical crackles and hums like neon, embedding contagious energy in the coming-of-age story of Francisca.” — Them Uprooted from her comfortable life in Bogotá, Colombia, into an ant-infested Miami townhouse, fifteen-year-old Francisca is miserable and friendless in her strange new city. Her alienation grows when her mother is swept up into an evangelical church, replete with Christian salsa, abstinent young dancers, and baptisms for the dead. But there, Francisca also meets the magnetic Carmen: opinionated and charismatic, head of the youth group, and the pastor’s daughter. As her mother’s mental health deteriorates and her grandmother descends into alcoholism, Francisca falls more and more intensely in love with Carmen. To get closer to her, Francisca turns to Jesus to be saved, even as their relationship hurtles toward a shattering conclusion.

Maria Angeles Perez Lopez (1967) nos ofrece su trabajo quiza mas depurado: sin renunciar a sus marcas de estilo –un lenguaje ritmico y cenido, trufado de imagenes brillantes y poderosas–, Perez Lopez parte del motivo de los metales de los instrumentos y herramientas de trabajo para acercarnos una realidad cotidiana tan aspera como enigmatica. Una poesia barroca y a la vez indignada, inconformista, tan capaz de hablar de las cuchillas en las vallas de Melilla como del bisturi del cirujano o la hoz del campesino. Una poesia, como dice Juan Carlos Mestre en su prologo, «de las correspondencias eticas y los reflejos de lo compasivo, del lamento solidario y la memoria de los sentimientos», que logra ser al mismo tiempo musica de altos vuelos y rastro imborrable de nuestro paso por el mundo.