Featured in The New York Times' Globetrotting
"Bellatin is a playful novelist who isn't trying to hold the mirror to reality, provide allegory or philosophy or life lessons, and reading this provocative novella makes one consider all sorts of assumptions about why read?' and 'why write?' (Mrs. Murakami's Garden is) fiction that explores not only what it means, but why it matters." –
Kirkus Reviews "One of the beauties of this book is that nothing is what it seems... A superb work." –
The Modern Novel "People often say, with a lot of truth to it, that all good fiction writing comes from some wound, out of some distance that needs to be breached between a writer and normalcy. In Mario's sense, the wound is literal and comes with all kinds of psychological nuance and pain, and seems related to sexuality and desire, the desire for a whole body. One of my favorite aspects of him is this sense that he is writing for all the freaks – either literally freaks or privately and metaphorically, that he really touches us." –Francisco Goldman
"Mario Bellatin, who has the fortune or misfortune of being considered Mexican by the Mexicans and Peruvian by the Peruvians [is one of the] writers without whom there's no understanding of this entelechy that we call new Latin American literature." –Roberto Bolaño
"If literature aims to make us less alone, we need writers like Bellatin who reflect not just a different perspective on life, but can envision something separate and apart, a periscope rising above the self." –Matt Bucher,
Electric Literature "As the line between truth and fiction, life and art, grows increasingly blurred, it comes as no surprise to find Mario Bellatin standing at this divide, dancing in the gray zone." –Jeffrey Zuckerman,
Los Angeles Review of Books "Mario Bellatin requires us to consume its contents in discrete portions, savoring each sip with a thirst that is at once as foreign as it is familiar." –Alex Espinoza,
Los Angeles Review of Books
