Hurricane Season - Fernanda Melchor - Translated by Sophie Hughes
The Witch is dead. After a group of children playing near the irrigation canals discover her decomposing corpse, the village of La Matosa is rife with rumours about how and why this murder occurred. As the novel unfolds in a dazzling linguistic torrent, Fernanda Melchor paints a moving portrait of lives governed by poverty and violence, machismo and misogyny, superstition and prejudice. Written with an infernal lyricism that is as affecting as it is enthralling, Hurricane Season, Melchor’s first novel to appear in English, is a formidable portrait of Mexico and its demons, brilliantly translated by Sophie Hughes.
New York Public Library Books of the Year 2020 | Guardian Books of the Year 2020 | Observer Books of the Year 2020 | Lithub Books of the Year 2020 | Morning Star Books of the Year 2020
‘This is the Mexico of Cormac McCarthy’s Blood Meridian or Roberto Bolaño’s 2666, where the extremes of evil create a pummeling, hyper-realistic effect. But the “elemental cry” of Ms. Melchor’s writing voice, a composite of anger and anguish, is entirely her own.’
— Sam Sacks, Wall Street Journal
‘A brutal portrait of small-town claustrophobia, in which machismo is a prison and corruption isn’t just institutional but domestic, with families broken by incest and violence. Melchor’s long, snaking sentences make the book almost literally unputdownable, shifting our grasp of key events by continually creeping up on them from new angles. A formidable debut.’
— Anthony Cummins, Observer
‘Hurricane Season is a Gulf Coast noir from four characters’ perspectives, each circling a murder more closely than the last. Melchor has an exceptional gift for ventriloquism, as does her translator, Sophie Hughes, who skillfully meets the challenge posed by a novel so rich in idiosyncratic voices. Melchor evokes the stories of Flannery O’Connor, or, more recently, Marlon James’s A Brief History of Seven Killings. Impressive.’
— Julian Lucas, The New York Times
‘Stomach-churning, molar-grinding, nightmare-inducing, and extraordinarily clear-eyed account of the ordinary horrors men inflict upon women. Melchor refuses to look away, refuses to indulge in fantasy or levity—even in the moments when the novel is laugh-out-loud funny. And lest the far-off reader think the horror is contained to the lives of others, Melchor repeatedly threads the reminders of the long reach of these crimes—and their causes—throughout the narrative.’
— Lucas Iberico Lozada, The Nation
‘I found it impossible to look away. Hurricane Season unfurls with the pressure and propulsion of an unforeseen natural disaster, the full force of Melchor’s arresting voice captured in Sophie Hughes’ masterful translation.’
— Lucy Scholes, Financial Times
‘Fernanda Melchor’s deep drill into violence, femicide, homophobia and misogyny, translated with considerable verve and force by Sophie Hughes and longlisted for this year’s International Booker, is based on the real-life killing of a “witch” outside Veracruz. It’s a mystery novel, but not one presented in any manner to which we’re accustomed; a horror novel, but only metaphorically; and a political novel with deep penetration of a remarkably foul milieu. ... You close the book every so often, feeling that you have learned too much. Though there are glitters of humour and empathy, Hurricane Season is an uncompromisingly savage piece of work: difficult to escape from, built to shock. Yet it’s also elating. I was left buoyed up by Melchor’s anger, elated because she had shown me things I needed to be faced with.’
— M John Harrison, Guardian
‘The novel does not, nor should it, tell us how to act. Instead its terrible beauty carves a wound, painful enough to startle us out of our complacency.’
— Los Angeles Review of Books
‘One of Mexico’s most promising and prominent writers—Melchor writes of lives with specificity, with a crude recognition of their humanity that allows, if not for redemption or hope for those lives, at least some measure of peace for their dead. Virtuosic prose.’
— Ana Cecilia Alvarez, Bookforum
‘Fernanda Melchor’s Hurricane Season is so strange, wild, and foul-mouthed that I almost missed the sharp critiques embedded in the story. A mix of drugs, sex, mythology, small-town desperation, poverty, and superstition, this novel spreads like a fungus from the dark center of the literary space where crime fiction and horror meet. Melchor is the witch and this novel is a powerful spell.’
— NPR
‘Forceful, frenzied, violent, and uncompromising, Melchor’s depiction of a town ogling its own destruction is a powder keg that ignites on the first page and sustains its intense, explosive heat until its final sentence.’
— Publishers Weekly
‘It’s like driving off a cliff, this book, without a handbrake on.’
— Backlisted
‘Structurally adventurous ... Hurricane Season has the power at times to mesmerise’
— New Statesman
‘The novel opens with an epigram from W.B. Yeats’s “Easter 1916,” “A terrible beauty is born.” Melchor excavates this perverse irony — the “beauty” found by those who terrorise and how they reach these forms of beauty. The novel is written in a flowing, serpentine prose that’s disturbingly compelling in spite of the distressing content. We as readers become desensitised and complicit, or brought so close to the violence that it no longer seems shocking, only to reach a jolting passage of bestiality or paedophilia that before long is quickly assimilated into Melchor’s form of dissonant lyricism. In Zadie Smith’s phrase, this is literature that “retains the wound.” Hurricane Season’s breathless style creates a searing protest against its own narratives, drawing on the “bitter, hellacious force” of its title to amplify and condemn a series of beautifully rendered terrors.’
— Liam Harrison, Review 31
‘Brutal, relentless, beautiful, fugal, Hurricane Season explores the violent mythologies of one Mexican village and reveals how they touch the global circuitry of capitalist greed. This is an inquiry into the sexual terrorism and terror of broken men. This is a work of both mystery and critique. Most recent fiction seems anaemic by comparison.’
— Ben Lerner, author of The Topeka School
‘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
‘Hurricane Season is a tremendously vital piece of work. Searing and urgent and cut through with pain, this is storytelling as reportage; a loud memorial to the unheard victims of a society in crisis. Fernanda Melchor and Sophie Hughes have achieved something remarkable here.’
— Jon McGregor, author of Reservoir 13
‘Propelled by a violent lyricism and stunning immediacy, Hurricane Season maps out a landscape in which social corrosion acquires a mythical shape. This masterful portrayal of contemporary Mexico, so vertiginous and bewitching it pulls you into its spiritual abyss from the opening page, is brilliantly rendered into English by Sophie Hughes. Fernanda Melchor is a remarkable talent.’
— Chloe Aridjis, author of Sea Monsters
‘A bravura performance, teeming with life and fury. Melchor takes a single, brutal act and explodes it, giving voice to the legacies of tragedy and violence within, and daring us to look away.’
— Sam Byers, author of Perfidious Albion
‘Repellent yet compulsive, Hurricane Season is a hell of a force to be reckoned with.’
— Claire-Louise Bennett, author of Pond
‘Not only does Fernanda Melchor write with the violent force that the themes of her investigation demand, but on every page she displays an ear and perspicacity rarely seen in our literature.’
— Yuri Herrera, author of The Transmigration of Bodies
‘Written with pain and enormous skill, in a rhythm at once tearing and hypnotic, Hurricane Season is an account of the wreckage of a forsaken Mexico governed by nightmarish jungle law. An important, brave novel by a writer of extraordinary talent, magnificently translated by Sophie Hughes.’
— Alia Trabucco Zerán, author of The Remainder
‘Melchor experiments with the Latin American NeoBaroque and with European formalism – in the novel, each chapter is sustained in a long paragraph in which sentences only finish when they really and truly can’t carry another clause, articulating a relentless reality in a language openly faithful to that spoken by Mexicans today. Fernanda Melchor isn’t interested in revealing what happened, but rather in providing a way to record what is so hard to articulate.’
— Álvaro Enrigue, author of Sudden Death
‘Melchor wields a sentence like a saber. She never flinches in the bold, precise strokes of Hurricane Season. In prose as precise and breathtaking as it is unsettling, Melchor has crafted an unprecedented novel about femicide in Mexico and how poverty and extreme power imbalances lead to violence everywhere.’
— Idra Novey, author of Those Who Knew
‘Hurricane Season is menacing, highly original and disturbing – Melchor is unafraid to confront the unspeakable.’
— Nicole Flattery, author of Show Them a Good Time
‘Fernanda Melchor is part of a wave of real writing, a multi-tongue, variform, generationless, decadeless, ageless wave, that American contemporary literature must ignore if it is to hold on to its infantile worldview.’
— Jesse Ball, author of Census
‘Hurricane Season is an intense and hypnotic literary experience, where physical violence and the hostility of the landscape form a microcosm of helplessness. Fernanda Melchor’s narrative maturity is powerful: a book that leaves you shaken.’
— Mariana Enríquez, author of Things We Lost in the Fire
Born in Veracruz, Mexico, in 1982, Fernanda Melchor is widely recognized as one of the most exciting new voices of Mexican literature. In 2018, she won the PEN Mexico Award for Literary and Journalistic Excellence and in 2019 the German Anna-Seghers-Preis and the International Literature Award for Hurricane Season.
Sophie Hughes has translated novels by several contemporary Latin American and Spanish authors, including Laia Jufresa and Rodrigo Hasbún. Her translation of Alia Trabucco Zerán’s The Remainder was shortlisted for the 2019 Man Booker International Prize.
The Witch is dead. After a group of children playing near the irrigation canals discover her decomposing corpse, the village of La Matosa is rife with rumours about how and why this murder occurred. As the novel unfolds in a dazzling linguistic torrent, Fernanda Melchor paints a moving portrait of lives governed by poverty and violence, machismo and misogyny, superstition and prejudice. Written with an infernal lyricism that is as affecting as it is enthralling, Hurricane Season, Melchor’s first novel to appear in English, is a formidable portrait of Mexico and its demons, brilliantly translated by Sophie Hughes.
New York Public Library Books of the Year 2020 | Guardian Books of the Year 2020 | Observer Books of the Year 2020 | Lithub Books of the Year 2020 | Morning Star Books of the Year 2020
‘This is the Mexico of Cormac McCarthy’s Blood Meridian or Roberto Bolaño’s 2666, where the extremes of evil create a pummeling, hyper-realistic effect. But the “elemental cry” of Ms. Melchor’s writing voice, a composite of anger and anguish, is entirely her own.’
— Sam Sacks, Wall Street Journal
‘A brutal portrait of small-town claustrophobia, in which machismo is a prison and corruption isn’t just institutional but domestic, with families broken by incest and violence. Melchor’s long, snaking sentences make the book almost literally unputdownable, shifting our grasp of key events by continually creeping up on them from new angles. A formidable debut.’
— Anthony Cummins, Observer
‘Hurricane Season is a Gulf Coast noir from four characters’ perspectives, each circling a murder more closely than the last. Melchor has an exceptional gift for ventriloquism, as does her translator, Sophie Hughes, who skillfully meets the challenge posed by a novel so rich in idiosyncratic voices. Melchor evokes the stories of Flannery O’Connor, or, more recently, Marlon James’s A Brief History of Seven Killings. Impressive.’
— Julian Lucas, The New York Times
‘Stomach-churning, molar-grinding, nightmare-inducing, and extraordinarily clear-eyed account of the ordinary horrors men inflict upon women. Melchor refuses to look away, refuses to indulge in fantasy or levity—even in the moments when the novel is laugh-out-loud funny. And lest the far-off reader think the horror is contained to the lives of others, Melchor repeatedly threads the reminders of the long reach of these crimes—and their causes—throughout the narrative.’
— Lucas Iberico Lozada, The Nation
‘I found it impossible to look away. Hurricane Season unfurls with the pressure and propulsion of an unforeseen natural disaster, the full force of Melchor’s arresting voice captured in Sophie Hughes’ masterful translation.’
— Lucy Scholes, Financial Times
‘Fernanda Melchor’s deep drill into violence, femicide, homophobia and misogyny, translated with considerable verve and force by Sophie Hughes and longlisted for this year’s International Booker, is based on the real-life killing of a “witch” outside Veracruz. It’s a mystery novel, but not one presented in any manner to which we’re accustomed; a horror novel, but only metaphorically; and a political novel with deep penetration of a remarkably foul milieu. ... You close the book every so often, feeling that you have learned too much. Though there are glitters of humour and empathy, Hurricane Season is an uncompromisingly savage piece of work: difficult to escape from, built to shock. Yet it’s also elating. I was left buoyed up by Melchor’s anger, elated because she had shown me things I needed to be faced with.’
— M John Harrison, Guardian
‘The novel does not, nor should it, tell us how to act. Instead its terrible beauty carves a wound, painful enough to startle us out of our complacency.’
— Los Angeles Review of Books
‘One of Mexico’s most promising and prominent writers—Melchor writes of lives with specificity, with a crude recognition of their humanity that allows, if not for redemption or hope for those lives, at least some measure of peace for their dead. Virtuosic prose.’
— Ana Cecilia Alvarez, Bookforum
‘Fernanda Melchor’s Hurricane Season is so strange, wild, and foul-mouthed that I almost missed the sharp critiques embedded in the story. A mix of drugs, sex, mythology, small-town desperation, poverty, and superstition, this novel spreads like a fungus from the dark center of the literary space where crime fiction and horror meet. Melchor is the witch and this novel is a powerful spell.’
— NPR
‘Forceful, frenzied, violent, and uncompromising, Melchor’s depiction of a town ogling its own destruction is a powder keg that ignites on the first page and sustains its intense, explosive heat until its final sentence.’
— Publishers Weekly
‘It’s like driving off a cliff, this book, without a handbrake on.’
— Backlisted
‘Structurally adventurous ... Hurricane Season has the power at times to mesmerise’
— New Statesman
‘The novel opens with an epigram from W.B. Yeats’s “Easter 1916,” “A terrible beauty is born.” Melchor excavates this perverse irony — the “beauty” found by those who terrorise and how they reach these forms of beauty. The novel is written in a flowing, serpentine prose that’s disturbingly compelling in spite of the distressing content. We as readers become desensitised and complicit, or brought so close to the violence that it no longer seems shocking, only to reach a jolting passage of bestiality or paedophilia that before long is quickly assimilated into Melchor’s form of dissonant lyricism. In Zadie Smith’s phrase, this is literature that “retains the wound.” Hurricane Season’s breathless style creates a searing protest against its own narratives, drawing on the “bitter, hellacious force” of its title to amplify and condemn a series of beautifully rendered terrors.’
— Liam Harrison, Review 31
‘Brutal, relentless, beautiful, fugal, Hurricane Season explores the violent mythologies of one Mexican village and reveals how they touch the global circuitry of capitalist greed. This is an inquiry into the sexual terrorism and terror of broken men. This is a work of both mystery and critique. Most recent fiction seems anaemic by comparison.’
— Ben Lerner, author of The Topeka School
‘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
‘Hurricane Season is a tremendously vital piece of work. Searing and urgent and cut through with pain, this is storytelling as reportage; a loud memorial to the unheard victims of a society in crisis. Fernanda Melchor and Sophie Hughes have achieved something remarkable here.’
— Jon McGregor, author of Reservoir 13
‘Propelled by a violent lyricism and stunning immediacy, Hurricane Season maps out a landscape in which social corrosion acquires a mythical shape. This masterful portrayal of contemporary Mexico, so vertiginous and bewitching it pulls you into its spiritual abyss from the opening page, is brilliantly rendered into English by Sophie Hughes. Fernanda Melchor is a remarkable talent.’
— Chloe Aridjis, author of Sea Monsters
‘A bravura performance, teeming with life and fury. Melchor takes a single, brutal act and explodes it, giving voice to the legacies of tragedy and violence within, and daring us to look away.’
— Sam Byers, author of Perfidious Albion
‘Repellent yet compulsive, Hurricane Season is a hell of a force to be reckoned with.’
— Claire-Louise Bennett, author of Pond
‘Not only does Fernanda Melchor write with the violent force that the themes of her investigation demand, but on every page she displays an ear and perspicacity rarely seen in our literature.’
— Yuri Herrera, author of The Transmigration of Bodies
‘Written with pain and enormous skill, in a rhythm at once tearing and hypnotic, Hurricane Season is an account of the wreckage of a forsaken Mexico governed by nightmarish jungle law. An important, brave novel by a writer of extraordinary talent, magnificently translated by Sophie Hughes.’
— Alia Trabucco Zerán, author of The Remainder
‘Melchor experiments with the Latin American NeoBaroque and with European formalism – in the novel, each chapter is sustained in a long paragraph in which sentences only finish when they really and truly can’t carry another clause, articulating a relentless reality in a language openly faithful to that spoken by Mexicans today. Fernanda Melchor isn’t interested in revealing what happened, but rather in providing a way to record what is so hard to articulate.’
— Álvaro Enrigue, author of Sudden Death
‘Melchor wields a sentence like a saber. She never flinches in the bold, precise strokes of Hurricane Season. In prose as precise and breathtaking as it is unsettling, Melchor has crafted an unprecedented novel about femicide in Mexico and how poverty and extreme power imbalances lead to violence everywhere.’
— Idra Novey, author of Those Who Knew
‘Hurricane Season is menacing, highly original and disturbing – Melchor is unafraid to confront the unspeakable.’
— Nicole Flattery, author of Show Them a Good Time
‘Fernanda Melchor is part of a wave of real writing, a multi-tongue, variform, generationless, decadeless, ageless wave, that American contemporary literature must ignore if it is to hold on to its infantile worldview.’
— Jesse Ball, author of Census
‘Hurricane Season is an intense and hypnotic literary experience, where physical violence and the hostility of the landscape form a microcosm of helplessness. Fernanda Melchor’s narrative maturity is powerful: a book that leaves you shaken.’
— Mariana Enríquez, author of Things We Lost in the Fire
Born in Veracruz, Mexico, in 1982, Fernanda Melchor is widely recognized as one of the most exciting new voices of Mexican literature. In 2018, she won the PEN Mexico Award for Literary and Journalistic Excellence and in 2019 the German Anna-Seghers-Preis and the International Literature Award for Hurricane Season.
Sophie Hughes has translated novels by several contemporary Latin American and Spanish authors, including Laia Jufresa and Rodrigo Hasbún. Her translation of Alia Trabucco Zerán’s The Remainder was shortlisted for the 2019 Man Booker International Prize.
The Witch is dead. After a group of children playing near the irrigation canals discover her decomposing corpse, the village of La Matosa is rife with rumours about how and why this murder occurred. As the novel unfolds in a dazzling linguistic torrent, Fernanda Melchor paints a moving portrait of lives governed by poverty and violence, machismo and misogyny, superstition and prejudice. Written with an infernal lyricism that is as affecting as it is enthralling, Hurricane Season, Melchor’s first novel to appear in English, is a formidable portrait of Mexico and its demons, brilliantly translated by Sophie Hughes.
New York Public Library Books of the Year 2020 | Guardian Books of the Year 2020 | Observer Books of the Year 2020 | Lithub Books of the Year 2020 | Morning Star Books of the Year 2020
‘This is the Mexico of Cormac McCarthy’s Blood Meridian or Roberto Bolaño’s 2666, where the extremes of evil create a pummeling, hyper-realistic effect. But the “elemental cry” of Ms. Melchor’s writing voice, a composite of anger and anguish, is entirely her own.’
— Sam Sacks, Wall Street Journal
‘A brutal portrait of small-town claustrophobia, in which machismo is a prison and corruption isn’t just institutional but domestic, with families broken by incest and violence. Melchor’s long, snaking sentences make the book almost literally unputdownable, shifting our grasp of key events by continually creeping up on them from new angles. A formidable debut.’
— Anthony Cummins, Observer
‘Hurricane Season is a Gulf Coast noir from four characters’ perspectives, each circling a murder more closely than the last. Melchor has an exceptional gift for ventriloquism, as does her translator, Sophie Hughes, who skillfully meets the challenge posed by a novel so rich in idiosyncratic voices. Melchor evokes the stories of Flannery O’Connor, or, more recently, Marlon James’s A Brief History of Seven Killings. Impressive.’
— Julian Lucas, The New York Times
‘Stomach-churning, molar-grinding, nightmare-inducing, and extraordinarily clear-eyed account of the ordinary horrors men inflict upon women. Melchor refuses to look away, refuses to indulge in fantasy or levity—even in the moments when the novel is laugh-out-loud funny. And lest the far-off reader think the horror is contained to the lives of others, Melchor repeatedly threads the reminders of the long reach of these crimes—and their causes—throughout the narrative.’
— Lucas Iberico Lozada, The Nation
‘I found it impossible to look away. Hurricane Season unfurls with the pressure and propulsion of an unforeseen natural disaster, the full force of Melchor’s arresting voice captured in Sophie Hughes’ masterful translation.’
— Lucy Scholes, Financial Times
‘Fernanda Melchor’s deep drill into violence, femicide, homophobia and misogyny, translated with considerable verve and force by Sophie Hughes and longlisted for this year’s International Booker, is based on the real-life killing of a “witch” outside Veracruz. It’s a mystery novel, but not one presented in any manner to which we’re accustomed; a horror novel, but only metaphorically; and a political novel with deep penetration of a remarkably foul milieu. ... You close the book every so often, feeling that you have learned too much. Though there are glitters of humour and empathy, Hurricane Season is an uncompromisingly savage piece of work: difficult to escape from, built to shock. Yet it’s also elating. I was left buoyed up by Melchor’s anger, elated because she had shown me things I needed to be faced with.’
— M John Harrison, Guardian
‘The novel does not, nor should it, tell us how to act. Instead its terrible beauty carves a wound, painful enough to startle us out of our complacency.’
— Los Angeles Review of Books
‘One of Mexico’s most promising and prominent writers—Melchor writes of lives with specificity, with a crude recognition of their humanity that allows, if not for redemption or hope for those lives, at least some measure of peace for their dead. Virtuosic prose.’
— Ana Cecilia Alvarez, Bookforum
‘Fernanda Melchor’s Hurricane Season is so strange, wild, and foul-mouthed that I almost missed the sharp critiques embedded in the story. A mix of drugs, sex, mythology, small-town desperation, poverty, and superstition, this novel spreads like a fungus from the dark center of the literary space where crime fiction and horror meet. Melchor is the witch and this novel is a powerful spell.’
— NPR
‘Forceful, frenzied, violent, and uncompromising, Melchor’s depiction of a town ogling its own destruction is a powder keg that ignites on the first page and sustains its intense, explosive heat until its final sentence.’
— Publishers Weekly
‘It’s like driving off a cliff, this book, without a handbrake on.’
— Backlisted
‘Structurally adventurous ... Hurricane Season has the power at times to mesmerise’
— New Statesman
‘The novel opens with an epigram from W.B. Yeats’s “Easter 1916,” “A terrible beauty is born.” Melchor excavates this perverse irony — the “beauty” found by those who terrorise and how they reach these forms of beauty. The novel is written in a flowing, serpentine prose that’s disturbingly compelling in spite of the distressing content. We as readers become desensitised and complicit, or brought so close to the violence that it no longer seems shocking, only to reach a jolting passage of bestiality or paedophilia that before long is quickly assimilated into Melchor’s form of dissonant lyricism. In Zadie Smith’s phrase, this is literature that “retains the wound.” Hurricane Season’s breathless style creates a searing protest against its own narratives, drawing on the “bitter, hellacious force” of its title to amplify and condemn a series of beautifully rendered terrors.’
— Liam Harrison, Review 31
‘Brutal, relentless, beautiful, fugal, Hurricane Season explores the violent mythologies of one Mexican village and reveals how they touch the global circuitry of capitalist greed. This is an inquiry into the sexual terrorism and terror of broken men. This is a work of both mystery and critique. Most recent fiction seems anaemic by comparison.’
— Ben Lerner, author of The Topeka School
‘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
‘Hurricane Season is a tremendously vital piece of work. Searing and urgent and cut through with pain, this is storytelling as reportage; a loud memorial to the unheard victims of a society in crisis. Fernanda Melchor and Sophie Hughes have achieved something remarkable here.’
— Jon McGregor, author of Reservoir 13
‘Propelled by a violent lyricism and stunning immediacy, Hurricane Season maps out a landscape in which social corrosion acquires a mythical shape. This masterful portrayal of contemporary Mexico, so vertiginous and bewitching it pulls you into its spiritual abyss from the opening page, is brilliantly rendered into English by Sophie Hughes. Fernanda Melchor is a remarkable talent.’
— Chloe Aridjis, author of Sea Monsters
‘A bravura performance, teeming with life and fury. Melchor takes a single, brutal act and explodes it, giving voice to the legacies of tragedy and violence within, and daring us to look away.’
— Sam Byers, author of Perfidious Albion
‘Repellent yet compulsive, Hurricane Season is a hell of a force to be reckoned with.’
— Claire-Louise Bennett, author of Pond
‘Not only does Fernanda Melchor write with the violent force that the themes of her investigation demand, but on every page she displays an ear and perspicacity rarely seen in our literature.’
— Yuri Herrera, author of The Transmigration of Bodies
‘Written with pain and enormous skill, in a rhythm at once tearing and hypnotic, Hurricane Season is an account of the wreckage of a forsaken Mexico governed by nightmarish jungle law. An important, brave novel by a writer of extraordinary talent, magnificently translated by Sophie Hughes.’
— Alia Trabucco Zerán, author of The Remainder
‘Melchor experiments with the Latin American NeoBaroque and with European formalism – in the novel, each chapter is sustained in a long paragraph in which sentences only finish when they really and truly can’t carry another clause, articulating a relentless reality in a language openly faithful to that spoken by Mexicans today. Fernanda Melchor isn’t interested in revealing what happened, but rather in providing a way to record what is so hard to articulate.’
— Álvaro Enrigue, author of Sudden Death
‘Melchor wields a sentence like a saber. She never flinches in the bold, precise strokes of Hurricane Season. In prose as precise and breathtaking as it is unsettling, Melchor has crafted an unprecedented novel about femicide in Mexico and how poverty and extreme power imbalances lead to violence everywhere.’
— Idra Novey, author of Those Who Knew
‘Hurricane Season is menacing, highly original and disturbing – Melchor is unafraid to confront the unspeakable.’
— Nicole Flattery, author of Show Them a Good Time
‘Fernanda Melchor is part of a wave of real writing, a multi-tongue, variform, generationless, decadeless, ageless wave, that American contemporary literature must ignore if it is to hold on to its infantile worldview.’
— Jesse Ball, author of Census
‘Hurricane Season is an intense and hypnotic literary experience, where physical violence and the hostility of the landscape form a microcosm of helplessness. Fernanda Melchor’s narrative maturity is powerful: a book that leaves you shaken.’
— Mariana Enríquez, author of Things We Lost in the Fire
Born in Veracruz, Mexico, in 1982, Fernanda Melchor is widely recognized as one of the most exciting new voices of Mexican literature. In 2018, she won the PEN Mexico Award for Literary and Journalistic Excellence and in 2019 the German Anna-Seghers-Preis and the International Literature Award for Hurricane Season.
Sophie Hughes has translated novels by several contemporary Latin American and Spanish authors, including Laia Jufresa and Rodrigo Hasbún. Her translation of Alia Trabucco Zerán’s The Remainder was shortlisted for the 2019 Man Booker International Prize.