It’s the summer of 1999 when the two children of wealthy video game executive Jose Francisco Vivar, Alicia and Bruno, go missing in the beach town of Matanza. Long after their disappearance, the people of Matanza and the adjacent towns of Navidad consistently report sightings of Bruno — on the beach, in bars, gambling — while reports on Alicia, however, are next to none. And every story and clue keeps circling back to a man named Boris Real. .
At least that’s how the story — or one of many stories, rather — goes. All of them are told by a journalist narrator, who recounts the mysterious case of the Vivar family from an underground laboratory where he and six other “subjects” have taken up a novel-game, writing and exchanging chapters over email, all while waiting for the fear-inducing drug hadón to take its effect, and their uncertain fates.
A literary descendent of Roberto Bolaño and Andrés Neuman, Carlos Labbé’s Navidad and Matanza is a work of metafiction that not only challenges our perceptions of facts and observations, and of identity and reality, but also of basic human trust.
“Carlos Labbé’s [Navidad & Matanza] begins to fuck with your head from its very first word — moving through journalese, financial reporting, whodunit, Joseph Conrad, Raymond Chandler, Nabokov to David Lynch.”—Toby Litt
