—Michael LaPointe, Los Angeles Review of Books
Moya’s books rank among the strangest and most incisive contemporary Latin American works brought into our language.
Readers who appreciate literature that ridicules intolerance and brutality will celebrate the appearance of Lee Klein’s translation of *Revulsion: Thomas Bernhard in San Salvador*—an essential text in the oeuvre of Honduran-born Salvadoran author Horacio Castellanos Moya—nineteen years after its first publication.
—James Wood, The New Yorker
An intense writer, whose short novels take fierce satiric hold of a fictional concept and squeeze and squeeze.
A blistering novella that satisfies the darkness clouding the cynical side of our souls.
—The New Inquiry
Revulsion has a lot to teach us… It may be a gift, and it is very comforting, but lonely anger won’t help you in the end.
[Revulsion] hums with frenetic energy; a foreboding din both jarring and ruthless.
A scathing, electric, brief novel, an unrelenting diatribe taking aim at everything.
—The Paris Review
The book’s atmosphere of exasperated rage feels itchy, jagged, and real.
A tribute and a parody as well as an original voice.
Moya is as whip smart as any of them, and as pissed off; and the reader would do well to read carefully, lest they feel the lash of his well-earned condescension.
—Norman Rush, New York Review of Books
You can get out of breath reading Moya, who seems to have some occult command over the relationship between subject matter and the kinetics of the language chosen to present it. There are no longueurs in this book.
—John Greenya, Washington Times
Humor amid the madness and evil. Don’t let the breezy, often funny and frequently irreverent tone fool you.
—Anderson Tepper, Timer Out New York
A welcome eye-opening addition to this new literature of the Latin American nightmare.
—Natasha Wimmer, The Nation
Castellanos Moya has turned anxiety into an art form and an act of rebellion, and redeemed paranoia as a positive indicator of rot.
—Tom Andes, The Rumpus
A slender tour-de-force: a rich, complex, beautifully crafted act of ventriloquism whose brevity belies its range.
—Publishers Weekly (Starred Review)
In this taut, mesmerizing story of the brain’s far-reaching functions, Moya once again proves to be a master storyteller.
—Charles Finch, The New York Times Book Review
The Dream of My Return is a pleasurable, light-footed book, yet its final scene, which takes place in the airport as Erasmo debates whether to board the plane, has the tension of a thriller.
—Sheila Glaser, The New York Times Book Review
Hilarious and chilling.
—Natasha Wimmer, The Nation
Brilliantly funny and unsettling. Moya has turned anxiety into an art form and an act of rebellion, and redeemed paranoia as a positive indicator of rot.
—Britt Peterson, Bookforum
Moya’s scabrous, forceful, and very funny style is addictive.
The only writer of my generation who knows how to narrate the horror, the secret Vietnam that Latin America was for a long time.
—Junot Diaz, New York Magazine
I recommend Horacio Castellano Moya’s fanastic Senselessness, in which a writer takes on the dangerous job of editing a report on military atrocities in an unnamed country. Both a descent into hell and a book about how one becomes human. (Best Books of the Year)
A brilliantly crafted moral fable, as if Kafka had gone to Latin America for his source materials
The She-Devil in the Mirror is Horacio Castellanos Moya’s funniest, darkest, most terrifying work. A ‘typical’ superficial telenovela-like Salvadoran upper-class heroine investigates her friend’s murder and somehow her chattery, strenuously bright account of her adventure and her descent toward madness reveals more about intractable corruption, impunity and pure evil in her country than the usual narrators of such stories–terse, noirish, knowning detectives or journalists, for example–ever could.