Several pieces show us just how hazardous life in the capital can be. In ‘The Dirty Kid’, a middle-class woman slumming it in a dangerous part of town encounters a boy living on the streets. When she comes home one day to find the police investigating a murder, she can’t help but wonder if he’s the victim, particularly as there’s no sign of him – or his drug-addict mother. a b "Things We Lost in the Fire (2007) - Weekend Box Office". Box Office Mojo . Retrieved 2007-10-25. In Argentina, one woman lights herself on fire. Hundreds follow. Together they create a new kind of beauty. The Intoxicated Years" was published in Granta. [8] "Spiderweb" appeared in The New Yorker. [9] Contents [ edit ] Story Mariana Enriquez gana el premio Ciutat de Barcelona con su último libro de cuentos". 2018-08-10. Archived from the original on 2018-08-10 . Retrieved 2023-06-29.

Things We Lost in the Fire (Paperback) - Waterstones

Mariana Enriquez is a mesmerizing writer who demands to be read. Like Bolaño, she is interested matters of life and death, and her fiction hits with the force of a freight train. “The Dirty Kid” is one of the most memorable and brave stories I’ve read in years. It lingers in the mind for weeks, and redefined my sense of Buenos Aires, a city I love dearly.”— Dave EggersViolent and cool, told in voices so lucid they feel spoken, these 12 tales present a gothic portrait of a country tilting uneasily away from the memory of horrific traumas, as new ones lurk around every corner.” — The Boston Globe, “The Best Fiction Books of 2017” Szalai, Jennifer (2017-03-03). "Argentine Fiction". The New York Times. ISSN 0362-4331 . Retrieved 2019-08-01. Violent and cool, told in voices so lucid they feel spoken.”— The Boston Globe (Best Books of the Year) Joe Morgenstern (2007-10-19). "Del Toro Rescues 'Things We Lost,' A Tale of Grief". The Wall Street Journal . Retrieved 2007-10-27.

Things We Lost in the Fire (film) - Wikipedia Things We Lost in the Fire (film) - Wikipedia

Enriquez’s stories are historically aware and class-conscious, but her characters never avail themselves of sentimentalism or comfort. She’s after a truth more profound, and more disturbing, than whatever the strict dictates of realism allow….[P]ropulsive and mesmerizing, laced with vivid descriptions of the grotesque…and the darkest humor.” — New York Times Book ReviewThings We Lost in the Fire is a searing, striking portrait of the social fabric of Argentina and the collective consciousness of a generation affected by a particular stew of history, religion and imagination. Mariana Enriquez has a truly unique voice and these original, provocative stories will leave a lasting imprint.” — The Rumpus Things We Lost in the Fire - Box Office Data, DVD Sales, Movie News, Cast Information". The Numbers . Retrieved 2012-11-06. There are recognisable elements in this collection of the True Crime genre, a dark corner of media which has as many fans internationally as it does critics. The examination of real crimes, more often than not focusing on grizzly murder, has always captured the public’s most grotesquely-inclined imaginations, and this has peaked in the last fifty years with the rise in awareness of criminal psychology. This morbid fascination has been argued to disconnect us from other human beings, and yet has resulted in the successful apprehension of long-obscured culprits. Many of Enriquez’s stories and characters live in this liminal space between a need for desensitisation to the horror of real life, and a comprehension of how the normalised should be understood as horrific, through the metaphor of her many ghouls and monsters. These spookily clear-eyed, elementally intense stories are the business. I find myself no more able to defend myself from their advances than Enriquez’s funny, brutal, bruised characters are able to defend themselves from life as it’s lived.”— Helen Oyeyemi