El libro de los abrazos es una síntesis perfecta del imaginario más inspirado de su autor. Celebraciones, sucedidos, profecías, crónicas, sueños, memorias y desmemorias, deliciosos relatos breves en los que hasta las paredes hablan.

Un libro ilustrado por partida doble: a la mirada luminosa de Galeano se suman sus grabados.

“Lea una historia por día y será usted feliz la mitad del año. Lea una historia por día y estará usted triste la otra mitad. Cada página es tan hermosa como el libro.” (Koos Hageraats, HP/De Tijd, Holanda.)

Hopscotch is a novel by Julio Cortazar, translated by Gregory Rabassa, that revolutionized the narrative structure with its non-linear approach. The story follows Horacio Oliveira, an Argentinian writer living in Paris with his mistress, La Maga, amid a group of bohemian friends known as "the Club." After a series of personal tragedies, Oliveira returns to Buenos Aires, where his life takes a series of unexpected turns as he takes on various odd jobs.

The novel is famous for its unique structure, allowing readers to navigate through its chapters in a non-conventional order. This innovative layout mirrors the book’s thematic exploration of life's complexity and the search for meaning. Cortazar drew inspiration from a variety of sources, including Henry Miller's quest for truth, Daisetz Teitaro Suzuki's Zen Buddhism teachings, and the aesthetics of Modernist writers like Joyce. Additionally, the novel reflects influences from Surrealism, the French New Novel, jazz music, and New Wave Cinema.

Gregory Rabassa's translation of Hopscotch won the National Book Award in 1966, marking a significant moment for the recognition of translation in literature. Cortazar's approval of Rabassa's work led to the translator's collaboration with Gabriel García Márquez on One Hundred Years of Solitude, further cementing Rabassa's reputation as a master translator.

Full of philosophical puzzles and supernatural surprises, these stories contain some of Borges's most fully realized human characters. With uncanny insight, he takes us inside the minds of an unrepentant Nazi, an imprisoned Mayan priest, fanatical Christian theologians, a woman plotting vengeance on her father’s “killer,” and a man awaiting his assassin in a Buenos Aires guest house. This volume also contains the hauntingly brief vignettes about literary imagination and personal identity collected in The Maker, which Borges wrote as failing eyesight and public fame began to undermine his sense of self.