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Katixa Agirre

A mother kills her twins. Another woman, the narrator of this story, is about to give birth. She is a writer, and she realizes that she knows the woman who committed the infanticide. An obsession is born. She takes an extended leave, not for child-rearing, but to write. To research and write about the hidden truth behind the crime.

Mothers don’t write. Mothers give life. How could a woman be capable of neglecting her children? How could she kill them? Is motherhood a prison? Complete with elements of a traditional thriller, this a groundbreaking novel in which the chronicle and the essay converge. Katixa Agirre reflects on the relationship between motherhood and creativity, in dialogue with writers such as Sylvia Plath and Doris Lessing. Mothers Don’t plumbs the depths of childhood and the lack of protection children face before the law. The result is a disturbing, original novel in which the author does not offer answers, but plants contradictions and discoveries.

Open Letter

Spanish Literature Series

Mothers Don't

Katie Whittemore

Rodrigo Fresán

•Initial print run will be 10,000 or higher.

•Final installment in Fresán's "Part Trilogy," with more works to come from Open Letter Books.

•Builds on the momentum of The Invented Part, which won the Best Translated Book Award, was promoted by Powell’s for the 25 Books to Read Before You Die, and was the focus of the first season of the highly-acclaimed Two Month Review podcast.

•An international bestseller, Fresán’s reputation continues to grow in Spain and abroad, and as such will be a major focus of Open Letter’s marketing efforts over the next few years.

•Galleys (and e-galleys) will be available six months before publication.

The Remembered Part

Will Vanderhyden

Sara Mesa

From the author of the highly acclaimed Four by Four and Among the Hedges comes a collection of unsettling, captivating stories.

The eleven stories in this collection approach themes of childhood and adolescence, guilt and redemption, power and freedom. There are children who resist authority and experience the process of growing up with shock, and loneliness; alienated young girls whose rebellion lies under the surface—subterranean, furious and impotent; people who are tormented—or not—by regret and doubt, addicted to feelings of culpability; men who take advantage of women and adults who exercise power over children with a disturbing degree of control; kids abandoned by their parents; the suicide of the elderly and the young; lives that hide crimes—both real and imagined. Eschewing cosmopolitanism in favor of the micro-world of her characters, Mesa depicts a reality that is messy and disturbing, on even the smallest scale of an individual life, a single family.

Bad Handwriting

Frances Riddle