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See: Other publications: collaborations and awards.

OSTRARIO (SACANDO MOLUSCO)

In Ostrario (Harvesting Mollusks), Sergio Vilchez Vidal uses the format of microfiction to demonstrate that it’s possible to tell a story through others. It’s not a mosaic novel where pieces gradually reveal the final image. Instead, it’s a novel where the author has thrown the pieces onto the sand, waiting for readers to become shamans and interpret what it all means. And everything is valid. Ostrario (Harvesting Mollusks) is a wonderful exercise of imagination, speaking precisely about that: imagining.

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ALICIA, ¿QUÉ TE PASA?

Alicia, What’s the matter? is an imaginative exercise to prove, once again, that imagination always beats reality in any field; for one simple reason: reality is in danger of extinction.

In his ninth book, Sergio Vilchez Vidal finally tackles the question of explaining to his daughter the difference between fiction and reality. To do this, he projects himself into the future, where he is an elderly man with Alzheimer’s, living in the nursing home his daughter has chosen for him. From there, he makes an effort to tell her… It’s all okay, Alicia.

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THERE ARE 15 OF US ALREADY

It seems today Snake has eaten too much: breakfast, a snack, lunch, tapas, a two-course meal with dessert, and then an afternoon snack…

A surreal comedy that also contains many smaller stories about different characters, all of whom are eventually swallowed by Snake. One by one, they enter Snake’s stomach until the arrival of the fifteenth character triggers an unexpected ending.

Honorable Mention at the 2023 Latino Books Award 2023.

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ENTRE PINTA Y PINTA (y para ti una cinta)

Through twenty-one stories, legends, places, their histories, icons, and other memorable characters from the Irish repertoire are demystified, dissected, revisited, distorted, reconstructed, and then left to their fate.

It’s a vision of Ireland faithful to the author’s unique literary style: sardonic (like the Irish), surrealist, and unfaithful to everything else. A delight.

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VAMOS DAOS —25 canciones de amor—

WE’RE SCREWED – 25 Love Songs– : In a perplexed reaction, a man loudly shares his opinion on the love song lyrics he hears (and that are hits) on the radio: “They’re crap,” he declares.

“I could write twenty or thirty of those in an afternoon,” he bets.

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EXISTO EN TU MENTE

I Exist in Your Mind

Universal literary template.
EXCLUSIVE PUBLIC EDITION
LIMITED TO 100 OFFICIAL COPIES

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PONEOS COMO QUERÁIS

“DO AS YOU LIKE”: A young man’s boss is kidnapped. The culprit contacts the young man, demanding a ransom and warning him not to talk to the police or they will kill his boss. The young man hates his boss and quickly considers the second option. But before he can call the police, his boss is released, albeit with a deformed face. From that moment, things will never be the same at the office. And the kidnapper isn’t done with the young man… or is it the young man who isn’t done with her?

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CARTUCHOS DE FERIA

What would you say if we mixed a scene from the Marx Brothers with an episode of Hora de aventuras or the eccentric Tito Yayo? And what if any of the characters Sergio Vilchez invents in “FAIR CARTRIDGES” appeared in an episode of Alice in Wonderland? I dare say we’d accept it without complaint.

The inferred, fantastical, and hyper-realistic world would be more than believable. His sharp characters, seemingly escaping from a Monty Python sketch, wouldn’t hesitate to ambush us on the street and make us part of their stoic hilarity.

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TRATADO DE FILOSOFÍA PARA NIÑOS POP
Tomo II: Filosofía del amor

TREATISE ON POP PHILOSOPHY FOR CHILDREN
Volume II: Philosophy of Love
Published by cartonerita niñabonita (Zaragoza).

Illustrations by  Sergio Muro.

Limited Edition, 2016.

 

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ELLA, YO Y LOS DEMONIOS

Originalmente editado por Zócalo editorial y presentado por Félix Romeo.

SHE, I, AND THE DEMONS

Originally published by Zócalo Editorial and presented by Félix Romeo.

Back cover text by Adolfo Ayuso:

In She, I, and the Demons, each story seems to chase the next one, not giving it any rest and eventually capturing it. The ink-stained streets of these pages have nothing to do with the technologically decaying streets of Blade Runner. They are traversed by cold, restless predators, but ones clearly recognizable. They share the elevator with us at home or DJ at our usual bar. It’s unsettling to look at them and discover the gleam of a fish fin in their eyes. You know they’re capable of anything because they don’t know if they are themselves or if they’re wandering through the mental hells of another being.

Sergio Vilchez—tall, cryptic, and good-looking—loads his printer with cartridges of adrenaline.

See: Other publications: collaborations and awards.