What the old masters say: "Luisa Valenzuela is the heiress of Latin American Fiction. She wears an opulent, baroque crown, but her feet are naked." -- Carlos Fuentes, author, Aura, and The Old Gringo

"Luisa Valenzuela's books are our present, but they also contain much of our future; there is real sun, real love, real liberty in each of her pages." -- Julio Cortazar, author, Hopscotch

"Her writing is eerie and enchanting." -- Ishmael Reed, author, Mumbo Jumbo, and The Terrible Twos

What a new generation has to say: "Luisa Valenzuela is a super nova to the heart." -- Lidia Yuknavitch, author of Chronology of Water, Dora: A Head Case, The Small Backs of Children, and Book of Joan

"Valenzuela's work is not precious. It is stark and sometimes raving mad. Jonathan Titler's translation is syntactically beautiful and las palabras se construyen para devastar..." -- Amy Temple Harper, author, Cramped Uptown

"'Make way guys' indeed! Before Kathy Acker, before Patti Smith, before Angela Carter, there was & still is Luisa Valenzuela. Deathcats is a prescient fever dream against the new millennium, a take no prisoners satire, a sardonic after midnight liturgy. 'A crematory oven in the middle of Times Square?!' Dudes, here come the grievances." -- Richard E. Nash, former publishing ed., Soft Skull, founder Cursor/Red Lemonade