Carlos Frías grew up the son of Cuban exiles—only hearing about his parents’ homeland through parables. Sparked by the illness of Fidel Castro, he journeyed to Cuba for 12 days in August 2006 for the first time. There he learned about the life his family left behind nearly 40 years ago.

Take Me with You is written through the unique eyes of a first-generation Cuban-American seeing the country he has only heard about for the first time. This book expands on a five-day series that was published in The Palm Beach Post under the title, “Mi Familia: A Family Divided, Yet United,” which was submitted for the Pulitzer Prize. Take Me with You provides a fresh view of Cuba, devoid of overt political commentary, focusing instead on the gritty, tangible lives of the people living in Castro’s Cuba. As in the series, the book delves further into the effects his trip had on the family he met in Cuba and on his family in the United States. In the span of 12 days, Carlos takes in today’s Cuba and attempts to reconstruct what the past was like for his parents, retracing their footsteps, searching for his roots, and discovering his history.

About the Author

Frías, today a special projects reporter for the Palm Beach Post, has been called one of the finest young journalists in the country. The Associated Press Sports Editors have awarded him seven top-10 awards in the past four years for his work on in-depth features and investigative stories. (The APSE award is similar to the Pulitzer for sports writers.) Among those, a Journal-Constitution three-day series examined the deaths of five high school athletes, and was submitted for a 2003 Pulitzer Prize.

A South Florida native who grew up just north of the Dade-Broward County line, Frías gained the perspective of a boy born of Cuban exiles, but raised among the “gringos.” He learned from watching the lights of Little Havana glitter in the distance and hearing the stories of Cuba stitched together in three decades of anecdotes. He says he is “assembled in America from Cuban parts.” Fully bilingual, he travels easily between these two languages and brings his unique cultural sense to his writings.

Frías, 31, resides in Pembroke Pines, Florida, with his wife, Christine, and their three daughters, Elise, Amelia and Catalina Angeles.


Dancing with Butterflies is the story of four women who have immigrated from Mexico to the U.S. separately but share a love for their traditional culture as expressed in dance and music. They also share in the numerous challenges that one must face when settling in a the United States and a dominant culture that does not value your humanity, but rather renders you an invisible “worker.” The central characters, their families friends and enemies are true-to-life and unforgettable. They are women and women who want what we all do: to be loved, respected, safe and enjoy life. Their particular immigrant experience and their cultural heritage make their story unique and compelling.

As the lives of these women unfold in California where they live, they face questions of identity not just as Mexican immigrants–legal and illegal, but as women. They struggles, as we all do, with aging, marriages gone flat, dreams deferred or exploded. One woman sabotages herself travelling back and forth across the border, taking advantage of cheap plastic surgery in hopes that it will bring romance back to her life. Another is pulled back to her home country when a close relative succumbs to an illness. She then has to make the dangerous journey across a hundred mountains again. Others in their close community the struggle to keep their families together in a country and context that seems to work against them. Yet through their trials and tribulations, the women find strength in each other and are driven by their passions for Folklorico and the hope and comfort it brings them. Reyna Grande, once again, gives voice to the Mexican immigration experience that we loved in Across a Hundred Mountains.

Like a butterly Reyna Grande herself is emerging as an important writer not just one among the few who write from a Mexican American perspective. She dances folklorico herself in life and on the pages of this accomplished and fully satisfying second novel.
You buy this book:

About the Author

About Reyna Grande:
Reyna Grande came to the United States at age nine to join her father, who had left her behind in Mexico for several years. She went on to become the first person in her family to obtain a higher education. She holds a B.A. and an M.F.A. in creative writing. Her first novel, Across a Hundred Mountains, received the El Premio Aztlan Literary Award in 2006 and an American Book Award in 2007. Her novel has been required reading at various high schools and colleges across the nation. She is currently at work on a memoir.
Here is the link to her website:

A Conversation with Reyna Grande (Dancing With Butterflies by Reyna Grande)

1. Exquisite details about Folklórico appear throughout Dancing with Butterflies, from specific dances to the challenges of directing a group. How did you research Folklórico?

Researching Folklórico was one of the hardest things about writing Dancing with Butterflies. The public library had shelves upon shelves of books written about ballet and other popular dances here in the United States, but there were only three booklets about Folklórico, and they weren’t much help.
They were about how to choreograph a dance, but they didn’t contain specific historical details about Folklórico. At first, the two biggest sources for me were José Vences, artistic director of Grandeza Mexicana Folk Ballet Company, and Elías Roldán, its costume designer. Mr. Vences spent hours with me talking about the history of the dances, his experiences of starting his own dance group, and the trials and tribulations of running the group. He was also kind enough to read the 500-page manuscript and point out things that only a dance director would know. (This was very helpful in developing Yesenia.) Mr. Roldán shared his passion and knowledge of Folklórico costume-making, and I especially loved talking about cloth with him.

Books about Folklórico just aren’t available in the U.S., but very late in the writing process, I was lucky to get my hands on three books that helped me. The first is a self-published book called La Danza y el Traje en Mexico, written by Dr. María Guadalupe Castro y Páramo, created especially for the Danzantes Unidos Festival which I attended in February 200 in San Jose, California, a month before the final draft of thisbook was due! In June I got my hands on an anthology called Dancing Across Borders, published in May 2009 by University of Illinois Press. One of the contributors (and an editor) of the anthology was Olga Nájera-Ramírez, my Folklórico teacher at University of California, Santa Cruz. The third is a book called Music and Dance of México that a Folklórico teacher, Andrés de la Garza, wrote but hasn’t yet been able to publish. He was kind enough to share it with me.

2. Four distinct voices lead us through Dancing with Butterflies: each woman has her own, unique style of narrating. Please tell us about the experience of writing from four different points of view. How did you develop their separate voices? Was one narrator harder to envision than the others?

My first book, Across a Hundred Mountains, is told fromtwo points of view. It gave me the training I needed to tackle four different characters. I used the same techniques
I had learned in that book—pay attention to the voice, the way the characters talk, the way they see the world around them. I also worked on each character individually, spent a lot of time trying to get to know each woman, without the distraction of the other three. Having said that, writing from four points of view was a lot harder than I imagined! I think for my next book I will try just one. The hardest character for me was Yesenia. Since she’s ten years older than I am and is going through a different stage in her life, I was having a difficult time getting into her head. I ended up using my older sister as a model for Yesenia, and sometimes, when I was stuck, I would call my sister and say, “So tell me again about the time you . . .” Adriana was the easiest for me because I understood her. I grew up with an alcoholic father who physically abused me for many years, and later on, in my twenties, I too was looking for men who were like my father (not physically abusive, but controlling). Luckily I escaped those relationships and got over that very fast, and I found a wonderful man (like Ben!) to marry.

3. Each chapter opens with one of your graceful line drawings of Folklórico dancers. Why did you choose to include thesedrawings? Have you ever felt you had to choose between two art forms, as Adriana struggles to choose between dancing and ranchero singing?

The drawings came very late in the process, right before I turned in the final draft. I had thought about it for a long time. Because I was writing about such a visual topic—Folklórico—I felt that the drawings would complement the story. I couldn’t find someone to do them, and I didn’t feel confident enough to do them myself. But one day I said, why not? Why not at least try? So finally I decided to do them myself, just to see. And I ended up liking them enough, and when I showed them to my editor she liked them, too. Like Adriana, I felt torn between the passions I had. I loved music and from seventh grade up until my first year of college, I was a member of the marching band (I marched in the Rose Parade three times). From middle school to college, I took drawing and painting classes because I loved doing that, too. I also started writing when I was thirteen years old. At UC, Santa Cruz, I met a teacher who once told me that even though it was a good thing that I had many passions (I was also doing film and dancing at the time I met her), I needed to choose one thing that I really loved, above all others, so that I could focus on it and be great at it.
Otherwise, as the saying goes, I would just be a jack-of-alltrades. So I chose writing. I’m glad I listened to her, because otherwise I wouldn’t have been able to complete my first novel, which required a lot of discipline and commitment.
Once in a while I still dance Folklórico and I still draw. Having my drawings included in Dancing with Butterflies was, what can I say, extremely fulfilling—to see two of my passion come together, at last.

4. Sibling rivalry is a prominent theme in the novel, with Elena and Adriana’s constant conflict, as well as Soledad and Stephanie’s less explosive rivalry. Why did you focus on siblings in this novel?

How can you write about siblings and not have rivalry thrown in the mix? I have four siblings, and there is always some drama going on. The only time we are drama free is when we avoid each other! The rivalry between Elena and Adriana was inspired by my relationship with my older sister—not the way our relationship is, but how it could have been if things had turned out differently. Like Adriana, my older sister left me in a hellhole—my alcoholic father’s home. She didn’t take me with her when she left, and the two years I was at my father’s without my sister were two of the worst years of my life. To this day my sister apologizes for not taking me with her. I forgive my sister. But Adriana isn’t as forgiving. When I wrote about Adriana and Elena, I asked myself: how would my relationship with my sister be if I had held a grudge and not forgiven or understood my sister’s choices? (She was only twenty-one and could barely take care of herself, but at the time all I thought about was that she had left me and saved herself.) With Soledad and Stephanie, I wanted to write about siblings who belong to two worlds. Most immigrant families have siblings who were born in this country and others born in other countries. Even in my own family, my two youngest siblings were born here, but the three oldest (myself included) were born in Mexico.

5. Soledad faces enormous challenges in her efforts to cross the
México–U.S. border. What inspired Soledad’s story? Soledad was the last character to make an appearance. One day when I was at Mr. Vences’s house (the director of the dance group I researched), Elías Roldán was there, showing Mr. Vences a costume he was designing for the group. As
I watched them talk about the costume and what changes needed to be made, I realized that I was missing a crucial part in my novel—the point of view of Alegría’s costume designer!
Mr. Roldán was very generous with his time, and I visited him at his house to interview him several times. Like Soledad, he used his dining room to do his sewing, and every corner of the living room and dining room was covered in bolts of cloth. In the interviews he not only talked about costumemaking and cloth, but he shared with me his dream of having his own shop and everything that was keeping him from making his dream come true. But now I’m happy to say that Mr. Roldán has his own shop in East L.A., and his business is thriving. Although Dancing with Butterflies ends before Soledad makes her dream come true, this is the kind of future I envision for her. In terms of the challenges she faced crossing the border, it was inspired by all the stories I hear from immigrants who have had to make the dangerous journey north (myself included).

6. Despite all the challenges that your characters face, there are many light-hearted moments as well. How did you manage to balance serious subjects and humor? Do you have a favorite humorous moment in the novel?

I tend to write depressing stuff, and writing funny isn’t my strength. Whatever funny moments appear in the novel were not planned. But a little humor goes a long way, and it gives the reader a break from all that sadness, so I’m glad I managed to have a few funny moments here and there. One of my favorite humorous moments is when Adriana and Ben go out
for sushi and she mistakes the wasabi for guacamole. I was twenty years old when I first had sushi, and like Adriana, I was very ignorant about what wasabi was. I put a lot of it on my sushi, and, boy, did that hurt!

7. Frida Kahlo is featured prominently in the novel, as Adriana’ favorite artist. How does Kahlo’s work affect you?

Frida Kahlo is an inspiration to many Latinas. She was a fighter. For most of her life she was in deep physical (and emotional) pain. Yet her passion for art helped carry her through the toughest moments of her life. Writing has been my salvation. When things got bad at home, I wrote. Writing kept mesane. Kahlo painted herself many times. When I write I use myself as the starting point for my characters. Elena, Adriana, Soledad, Yesenia, they are all facets of me. They are not selfportraits, no, not like Kahlo painted her self-portraits. My selfportraits (my characters) are drawn in a style like Picasso’s, very distorted, but somehow recognizable. Like Adriana, myfavorite Kahlo painting is “The Two Fridas.” When I lived with my father, I developed a second personality, another Reyna, so to speak. One Reyna was afraid, depressed, and lonely. But the other Reyna was strong, brave, and smart. When things got tough, that second Reyna was the one who would give me the push I needed to keep going. I could hear her in my head telling me, “Things won’t always be like this. One day they will be better.” When I saw “The Two Fridas,” I saw my dual personality represented in that painting, and I fell in love with the painting and with the woman who painted it.

8. Although the main characters in Dancing with Butterflies are
Mexican or Mexican-American, they face many of the same problems as women from other backgrounds and cultures. Which of the characters’ challenges do you feel are the mostuniversal? Which feel more culturally specific to you?

Just a few weeks ago, my older brother asked me why I don’t write books without Latino characters or themes. He said that I am “limiting my audience” and therefore (or so I read between the lines) I will never have a bestseller. At first I felt furious about his comment, especially because I was showing him the advance copy of Dancing with Butterflies and instead of just saying, “Good job, Reyna,” he asks me that question! (Sibling drama? Yes!) But the thing is that even though I write about Latino characters, ultimately I am writing about human beings. No matter what ethnic background we come from, first and foremost we belong to the human race. The problems the women in Dancing with Butterflies face are universal. Like Yesenia, who hasn’t thought about aging and being frightened by it? Who hasn’t thought about the body’s limitations and what it can and cannot do as we get older? Elena gave birth to a stillborn baby. What mother, at some point during a pregnancy, hasn’t feared the worst? And for some, no matter their ethnic backgrounds, the worst has come to pass. What culturehasn’t had sibling rivalry, dead relatives to mourn, dreams that haven’t come true, obstacles to overcome, marriages that fail, illicit love affairs, forbidden love?

9. At one point, Elena realizes that her ex-husband never understood her passion for dancing. Do you think artists need to connect with other artists in order to share their passions?

I think that it is very hard for nonartists to understand an artist’s inner world, needs, and thoughts. But it doesn’t mean you can’t try! I think it is very important for artists to build friendships with other artists. I have been lucky to have made many writer friends, especially female writers. We get together sometimes for coffee, or communicate through email or phone calls. We critique each other’s works, talk about our goals, our dreams, our troubles with our respective partners, our children, our editors, our publishers, our readers. I think that artists need to have a support network and spend time with those who understand, those who are walking the same difficult path. I have made it a point to reach out to other writers. For example, this year I am helping to organize the Latino Book & Family Festival in Los Angeles to reach out to other writers and have us come together, for at least one weekend, to share our passion for the written word, not only with each other but with the community. I love my writer friends. They understand me in a way my own family never will.

10. Your first novel, Across a Hundred Mountains, also centers on immigration and families. Do you plan to continue thesethemes in your future work?

I like to write about things that are important to me. My older sister once asked, “Why are you always writing about Mexico?” My father once said, “Why don’t you just forget about the past and move on? Why do you need to write about it?” I write about things that I care about, that matter to me. The immigrant experience is one of them. Right now, I am working on a memoir, in which I write about my childhood in Mexico, living in poverty, being raised by my grandmother because my parents were here in the United States working. I write aboutwhat it was like to come here as an illegal immigrant and the difficulties of trying to close the gap created by eight years of separation between me and my father. So to answer the question, yes, I do plan to continue writing about immigration and families, among other things. I am always looking for new ideas and topics. One has to grow as a writer, and one way to do that is to take chances and try new things.

In my first memory, I am three years old, and I am trying to kill my sister. Sometimes, the recollection is so clear I can remember the itch of the pillowcase under my hand, the sharp point of her nose pressing into my palm. She didn’t stand a chance against me, of course, but it still didn’t work. My father walked by, tucking in the house for the night, and saved her. He led me back to my own bed. “That,” he told me, “never happened.”
As we got older, I didn’t seem to exist, except in relation to her. I would watch her sleep across the room from me, one long shadow linking our beds, and I would count the ways: Poison, sprinkled on her cereal. A wicked undertow off the beach. Lightning striking.
In the end, though, I did not kill my sister. She did it all on her own.
Or at least this is what I tell myself.

Anna is not sick, but she might as well be. By age thirteen, she has undergone countless surgeries, transfusions, and shots so that her sister, Kate, can somehow fight the leukemia that has plagued her since she was a child. Anna was born for this purpose, her parents tell her, which is why they love her even more. But now that she has reached an age of physical awareness, she can’t help but long for control over her own body and respite from the constant flow of her own blood seeping into her sister’s veins; “the nurses holding me down to stick me for white cells Kate might borrow; the doctor saying they didn’t get enough the first time around. The bruises and the deep bone ache after I gave up my marrow; the shots that sparked more stem cells in me, so that there’d be extra for my sister. The fact that I’m not sick, but I might as well be. The fact that the only reason I was born was as a harvest crop for Kate. The fact that even now, a major decision about me is being made, and no one’s bothered to ask the one person who most deserves it to speak her opinion.”

Anna makes a decision that for most would be too difficult to bear, at any time and at any age. She decides to sue her parents for the rights to her own body.

Using her sensitive, wise touch, Jodi Picoult once again probes into the love and heartache of a young girl and a modern family. As the Washington Post declares, “t is impossible not to be held spellbound by the way she forces us to think, hard, about right and wrong.”

Por la vida de mi hermana es la primera novela de Jodi Picoult traducida al español.

Anna Fitzgerald no está enferma, aunque pudiera parecerlo. Con trece años ha pasado por incontables operaciones, pruebas y transfusiones para que su hermana mayor, Kate, sobreviva a la leucemia que le diagnosticaron a los dos años. A Anna la seleccionaron genéticamente para ser la perfecta donante para Kate y ésta ha sido su vida desde que nació.

Como la mayoría de los adolescentes, Anna está comenzando a plantearse quién es realmente. Pero a diferencia de los demás, a ella siempre la han definido en función de Kate. Y aunque Anna nunca se ha enfrentado al papel que le ha tocado representar en la vida, ahora ha tomado una decisión que desgarrará a su familia y que puede tener consecuencias fatales para su hermana, una hermana por la que daría la vida.

La decisión más difícil es la historia de unos padres que luchan por la vida de su hija sin importar el precio que haya que pagar por ello. Se trata de una provocadora novela que pone el dedo en la llaga de cuestiones éticas fundamentales ante las que nadie podrá permanecer indiferente.

Available for the first time in the U.S., this Spanish-language translation of Jodi Picoult’s huge bestseller tells the story of a girl who decides to sue her parents for the rights to her own body.

Número uno en la lista de los libros más vendidos del New York Times nos llega, de la aclamada autora Jodi Picout, la apasionante y turbulenta historia de una joven adolescente que demanda a sus propios padres por poseer la potestad y los derechos ante su propio cuerpo.

About the Author

JODI PICOULT is the author of seventeen novels, including Handle With Care, Change of Heart, Nineteen Minutes, and My Sister’s Keeper, now a major motion picture. She lives in New Hampshire with her husband and three children.
Visit her website at

Dulce Maria “Mary” Guevara is a woman with nothing to lose. She’s already lost the life she once loved. Wrongly accused of being a cocaine queen, she’s lost her job, her reputation and custody of her son. Suspicion lingers even after charges were dropped.

Desperate to get it all back, she has embarked on the only mission she believes will prove to the world she’s innocent: she is on the hunt for the real drug queen. And she must travel an unseemly path to get there.

The one person she knows may be able to help her is the man she left 10 years ago — her ex-fiancee, Joe Pratts. This man was her first real love, and the love of her life, but Joe dabbled in drugs and associated with known delinquents, friends from the old neighborhood. Mary wanted a bigger life. As much as it broke her heart, she dumped him.

When she returns to ask Joe for help, she opens a door to her most vulnerable self. The woman who had been on a fast track to super-success now feels lost in the past. As she allows Joe to accompany her on part of the investigation, she does her best to fight off old feelings, but falls hard again.

Through some of Joe’s contacts and her own real estate investigator skills, Mary tracks down the Drug Queen’s primary associate in a Central Florida beach town. And in the process, she finds the fugitive queen herself.

The twist is this: The Drug Queen has reinvented herself as an upstanding suburban citizen, very much like Mary used to be. She cooks, crafts, spas, decorates. This is her way of hiding in plain sight. Mary learns the woman is not only running from the feds — she’s running from her abusive drug lord husband. Turns out she stole his money and fled.

Posing as a real estate agent new to the neighborhood, Mary befriends her and begins to plot her takedown. And just as Mary makes her move to bring in the Drug Queen she learns something that rattles her to the bone: the Drug Queen has a little girl the same age as her own son.

Her dilemma tears her apart: does she bring down the Drug Queen and regain her life, or does she let the woman keep running with her little girl?

Sweet Mary by pulitizer prize-winning journalist Liz Balmaseda follows the story of a woman with nothing to lose. Wrongly accused of being a cocaine queen, she’s lost her job, her reputation and custody of her son. Suspicion lingers even after charges were dropped. Desperate to get it all back, she embarks on a hunt for the real drug queen. And she must travel an unseemly path to get there.

About the Author

Liz Balmaseda (born January 17, 1959, Puerto Padre, Cuba) is a two-time Pulitzer Prize-winning journalist, a writer for The Palm Beach Post and a former columnist for The Miami Herald. She was awarded her first Pulitzer Prize for Commentary in 1993 for her writings on the plight of Haitian refugees and the Cuban-American population. She shared a second Pulitzer for breaking-news reporting in 2001, for the coverage of the federal raid to seize refugee Elián González.

El Secreto by Rhonda Byrne

octubre 8, 2009

The Secret is released to the world! The groundbreaking feature length movie that revealed the great mystery of the universe, The Secret, is now a book, and everything you have ever wanted – unlimited joy, health, money, relationships, love, youth – is now at your very fingertips.

The Secret is an enigma that has existed throughout the history of mankind. It has been discovered, coveted, suppressed, hidden, lost, and recovered. It has been hunted down, stolen, and bought for vast sums of money. A number of exceptional men and women discovered The Secret and went on to become regarded as the greatest human beings who ever lived. Among them: Plato, Leonardo, Galileo, Napoleon, Hugo, Beethoven, Lincoln, Edison, Einstein and Carnegie, to name but a few. Now for the first time The Secret is revealed to the world between the covers of this captivating book. In it you’ll find all the resources you will ever need to understand and live The Secret.

Fragments of The Secret have been found in oral traditions, literature, religions, and philosophies throughout the centuries. For the first time, all the pieces of The Secret come together in an incredible, life-changing revelation. The riveting, practical knowledge leads readers to a greater understanding of how they can be the masters of their own lives.

Like the film, the book features some of the world’s leaders in the fields of business, economics, medicine, psychology, history, theology, and science sharing their experience of The Secret and imparting this special wisdom that has been known by so few. Each of these teachers is living proof of The Secret; each a walking marvel of achievement and success.

Included are: ‘Miracle Man’ Morris Goodman, who tells his awe-inspiring story of how he recovered from paralysis by using The Secret; Dr. Denis Waitley, who used various aspects of The Secret in training Olympic athletes and Apollo astronauts to reach new heights of human endeavor; Bestselling authors and philosophers, including Bob Proctor, John Assaraf, James Ray, and Joe Vitale, who explain how they have created lives of phenomenal success utilizing The Secret; and several doctors in the fields of medicine and quantum physics, who explain the science behind The Secret.

The Secret shares amazing real-life stories and testimonials of regular people who have changed their lives in profound ways. By applying The Secret they present instances of eradicating disease, acquiring massive wealth, overcoming obstacles, and achieving what many would regard as impossible.

The Secret offers guidance on how to apply this powerful knowledge to your life in every area from health to wealth, to success and relationships, so you can obtain everything you’ve always wanted. No matter who you are, no matter where you are right now, no matter what you want – when you realize The Secret you can have anything.

El Secreto siempre ha estado parcialmente presente en las tradiciones orales, en la literatura, en las religiones y en las distintas filosofías de todos los tiempos. Por primera vez, todos estos fragmentos han sido reunidos en una increíble revelación que transformará la vida de todo aquel que lo experimente.

En este libro aprenderás a cómo utilizar El Secreto en todos los aspectos de tu vida: dinero, salud, relaciones, felicidad y en todas tus interacciones con el mundo. Empezarás a entender el poder oculto que hay en tu interior, El Secreto te traerá felicidad en todas las áreas de tu vida.

El Secreto encierra la sabiduría de los grandes maestros actuales-quienes lo han utilizado para conseguir salud, fortuna y felicidad. Al aplicar el conocimiento de El Secreto los maestros nos revelan increíbles historias de sanación, de generación de riqueza económica, de superación de obstáculos y de cómo alcanzar cualquier logro que pueda calificarse de imposible.

Once known only by the elite–unwilling to share their knowledge of power–“the secret” of obtaining anything you desire is now revealed by prominent physicists, authors, and philosophers through the understanding of the Law of Attraction. By unifying leading-edge scientific thought with ancient wisdom and spirituality, The Secret, now available in Spanish, reveals the mystery of all that is and the hidden potential contained within each and every one of us.

About the Author

Author Rhonda Byrne, like each of us, has been on her own journey of discovery. Along the way, she brought together a superb team of authors, ministers, teachers, filmmakers, designers, and publishers to bring forth The Secret to the world, and through ver vision, bring joy to millions.Rhonda Byrne, al igual que muchos de nosotros, ha seguido su propio viaje de descubrimiento. En el transcurso del mismo, ha logrado reunir a un fenomenal equipo de escritores, ministros religiosos, cineastas, diseñadores y editores para que El Secreto viera la luz y para que su visión transmitiera felicidad a millones de personas.

ERIKA LUNA is a thirty-something scientist living and working in Miami. When her husband of seven years; the very successful, very smart, very good-looking, founding partner of one of Miami’s most successful Public Relations firms falls in lust with another woman, their marriage spirals to hell and Erika’s practical nature leads her down the strangest of paths.

What is a scientist to do when slapped with pain so deep it interferes with breathing? Try to cure it, of course. Is it really necessary to suffer for love? What if we had a switch…somewhere in an unobtrusive part of our bodies that could turn love off and on at will? Her journey to a pill against heartbreak also takes us through her search for her own sense of self and the place of love in human life.She moves into a new apartment and, turns it into her personal laboratory with herself as the guinea pig. As she navigates the murky waters of the recently-divorced Erika successfully creates the heartbreak pill.

Eight months later, things could not be better. Her research is finished. Her pill works and she has a choice… from a position of strength… to have her marriage back. Only, her pill works better than she thinks. She doesn’t feel like rushing back and wonders, is it better to try to save a love that once made you happy than to move on and take new risks?

¿Es realmente necesario sufrir por amor? Imagina tu vida si tuvieras en algún lugar de tu cuerpo una píldora, palanca o botoncito que controlara tu corazón. Ya no sufrirías por Jacinto, Carlos o Gumersindo. Tendrías tu versión personal de “santo que no me quiere con no rezarle tengo” y cuando al hombre al que amas con toda tu alma te dijera “hasta aquí”, podrías reaccionar como la mujer adulta, inteligente y moderna que eres.

Erika Luna vive en Miami. Es doctora en química, atractiva e inteligente: la imagen misma de la mujer moderna. Pero cuando tras siete años de matrimonio, su súper-atractivo, súper inteligente y súper exitoso esposo Martín se enamora de otra mujer, su matrimonio se destruye de la noche a la mañana y amenaza destruirla con él.

¿Qué hace una científica de vocación cuando el dolor del mal amor amenaza con convertirla en una lunática descontrolada y pone en riesgo su carrera, su cordura y su fe en la vida? Inventar una cura, por supuesto. Para ello, Erika arriesgará hasta su vida para convertirse en su propio conejillo de Indias. Su misión: librar para siempre al mundo del mal amor…y componer su propio corazón. En el proceso, tendrá que luchar contra la mujer que fue para convertirse en la mujer que siempre quiso ser.

At once humorous and touching, The Heartbreak Pill by Anjanette Delgado, follows Erika Luna, a thirty-something scientist living and working in Miami who tries to heal the pain of her divorce by developing a heartbreak pill.

About the Author

Anjanette Delgado is an Emmy Award-winning writer and television producer living in Miami.

Switching perfumes whenever she changes lovers, a woman seeks refuge from the loss of family and country in this beguiling debut novel from Miami Herald prize-winning journalist Fabiola Santiago.

“Men are like perfumes. In an instant, with nothing but a whiff of a judgment, I either love them or hate them.”

Marisol is an exuberant poet and historical archivist living in contemporary Miami. Like her adopted city, she’s a sensual free spirit. Born in Cuba and transplanted at an early age to Florida, she nurses a nostalgia for the legendary island birthplace she barely remembers. She also harbors a passion for scents, donning a new perfume each time she takes on a new relationship. After the death of her beloved grandmother and a series of sensuous but disappointing romances, Marisol realizes that she must break free from the shackles of her history, abandon lost causes, and embrace the only real home she’s ever had her own wandering heart. Freed at last from yearning for old Havana, “the Paris of the Caribbean,” this romantic exile must embrace a new life. Although she cannot reclaim Havana, she can experience the real thing – Paris – and so Marisol sets out with an open ticket to chart the course of her future.

Bridging the divide between the effervescent Miami of today and the mystical Cuba of yesteryear, Reclaiming Paris
is a paean to place and memory whose humor, passion, and unforgettable characters will resonate with readers

“Los hombres son como los perfumes. En un instante, sin más juicio que mi ágil olfato, o me enamoro de ellos o los echo a un lado”.

Marisol es una exuberante poeta y archivista de historia que vive en el Miami contemporáneo. Al igual que su ciudad adoptiva, ella es un espíritu libre y sensual. Nacida en Cuba y transplantada a una temprana edad en la Florida, lleva dentro una nostalgia por la legendaria isla en que nació y que apenas recuerda. Su pasión por los olores la inspira a adoptar un perfume diferente cada vez que se embarca en una nueva relación amorosa. Tras la muerte de su querida abuela y una sucesión de malogrados romances sensuales, Marisol concluye que debe liberarse de las ataduras de su historia, abandonar causas perdidas y refugiarse en el único santuario que siempre va con ella: su propio corazón errante. Liberada al fin de su añoranza por la vieja Habana, “el París del Caribe”, su romántico exilio está llamado a emprender una nueva vida. Privada de reclamar La Habana como suya, opta por su verdadero destino: París. Y es así que Marisol se lanza a desbrozar el camino hacia su futuro.

Salvando la distancia entre el Miami efervescente de hoy y la mística Cuba de ayer, Siempre París es un canto a la geografía y la memoria, una obra repleta de humor, pasión y personajes inolvidables.

About the Author

Fabiola Santiago has been a writer and editor for The Miami Herald since 1980. She was the founding city editor of the Spanish-language El Nuevo Herald, and shared in a Pulitzer Prize for coverage of the EliánGonzález story at The Miami Herald in 2001. Her writing on culture, arts, and identity has won awards from the Society of Professional Journalists and the National Association of Hispanic Journalists. Her stories and essays have been published in many U.S. newspapers, magazines, and anthologies, and in Latin America, Canada, and France. She lives in Miami.