Mariana Enriquez’s Our Share of Night is not an easy read—and that’s what makes it unforgettable. This sprawling, terrifying, and deeply layered novel moves through decades of Argentina’s history, entangling grief, family, colonialism, and the occult in ways that feel both intimate and vast.
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The novel begins with Juan and his six-year-old son Gaspar, reeling after the death of Rosario—Juan’s wife and Gaspar’s mother. They set out on a road trip to Rosario’s ancestral home, but this is no ordinary return to family. Rosario’s family belongs to The Order, a secretive cult that will stop at nothing in its pursuit of immortality. Their devotion is not to god or country, but to the Darkness, a supernatural force that demands unspeakable acts in exchange for power. Gaspar is their legacy, and Juan knows it.
When author Adelina Leo set out to write River of Silence, she didn’t just craft a novel—she built a bridge across time, memory, and identity. Released June 11th, Leo’s debut explores love, loss, and the scars of Argentina’s past with a lyrical touch shaped by her passion for storytelling and her love of Latin dance. In this interview, she shares the literary influences that shaped her voice, the emotional discoveries she made while writing, and why family and identity are themes she returns to again and again. Whether you’re a fan of historical fiction or stories that stir empathy, you’ll find something to connect with in her thoughtful reflections.
In River of Silence, Isabel Hartley returns to Buenos Aires decades after her mother vanished under Argentina’s dictatorship, determined to uncover the truth. As political unrest surges and buried secrets surface, her search leads to a heartbreaking revelation—and the possibility of healing through love.
Q: What’s a memory of a story or book that made you realize you wanted to be a writer? A: I spent months thinking about Cesar Castillo, the protagonist in The Mambo Kings Play Songs of Love by Oscar Hijuelos. He was so tragically grand, full of spirit and musical genius, but his childhood trauma led to spectacular self-sabotage. All of Hijuelos’s characters were crafted so carefully and sensitively that I re-read the book almost immediately after I had finished it. I started writing soon after. The passion in his writing inspired me to create worlds that absorb the reader. I wanted to draw my audience in so that they walk in the shoes of somebody that they would be unlikely to meet in their own lives. These kinds of experiences sow the seeds of empathy and human connection in our everyday lives and that’s why I write.
In this haunting Argentine gothic, the vampire isn’t a glamorous predator but a creature driven by instinct—feral, tragic, and devastatingly human. Marina Yuszczuk’s Thirst, translated by Heather Cleary, breathes new (undead) life into the vampire novel, weaving a queer, feminist narrative that shifts between 19th-century Buenos Aires and its modern-day counterpart. The result is an eerie and lyrical meditation on desire, decay, and the violent inheritance of womanhood.
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The novel opens with the vampire as a child, taken by her mother and given over to the man who will eventually transform her. From the beginning, Thirst is deeply concerned with the bond between mothers and daughters—and the ways that bond can be both protective and damning. In the present day, the unnamed narrator grapples with her own mother’s slow death while caring for her young son. Grief unmoors her, and she finds herself wandering the cemetery where she first encounters the vampire. What begins as curiosity blooms into obsession, desire, and something even darker.
Write on the World 