Books like Cuando quiero llorar no lloro by Miguel Otero Silva

In post‑war Barcelona, young Daniel Sempere discovers a cursed book in the Cemetery of Forgotten Books, setting off a gripping literary mystery that intertwines love, secrets and the city’s shadowed past.

In Senatorio’s classic "El túnel," a tormented painter becomes obsessed with a married woman, spiralling into jealousy and madness as all events unfold inside his troubled mind.

A powerful family saga of landowners in 19th-century Latin America with a mystical backdrop and themes of family dynamics and social tension, adapted into a gripping film adaptation featuring actors like Meryl Streep and Antonio Banderas.

Pedro Páramo is a Mexican novel set in the rural town of Comala, Jalisco, where a young man's arrival intersects with the voices of the dead, exploring themes of family, poverty, and the haunting legacy of rural life.

La ciudad y los perros exposes brutal violence, bullying and hazing within the Leoncio Prado Military School, critiquing a distorted notion of masculinity and the harms of militaristic education in 1970s Peru.

Spanish adult fiction about a couple of investigators solving a mystery in Mallorca's resort town.

Un íntimo poemario de 108 versos que acompaña a la juventud de Marianela mientras despide la adolescencia y contempla la nostalgia de un hogar con dos estaciones, invitando al lector a cuidar su propio corazón.

A moving story by Chilean author Isabel Allende about a family in terminal illness, told by the mother on her dying husband's pillow to her child, a narrative that became a memoir for her daughter and a testament to the power of family and the bond between women.

A groundbreaking Argentine novel that defies conventional narrative structure with 155 chapters, 99 of which are considered 'expendable', challenging readers to reimagine the way stories can be told.

SYPNOPSIS Francisco Burdett O’Connor, a General from the Bolivian Army Division, Peruvian Brigade also the Colombian Army Colonel of the Liberator’s Order of Venezuela, Cundinamarca and Peru, is on his deathbed. His whole life he has been known as Colonel O’Connor, a hero, combatant, enemy and liberator. Now, intimately recounting his conquests in the Latin American fight for independence from the Spanish Empire, he is confronted with himself as an old man and father. It takes him back to the freedom and simplicity of being a child growing up in Ireland, and being known simply as Francisco. It faces him with the contrast of his time as a happy child, to his life fighting for freedom as a liberator. And reminds him of losing his mother and the guilt and pain that drove him to leave Ireland and head into the unknown, to leave his life as Francisco and become O’Connor. He recounts aloud to his son he believes is by his side in his dying hours. He speaks of the joys and heartbreaks, aesthetics and ceremony and harmony and rhythm of fighting a war. He also speaks of pity and human pain, of repugnance and inhumanity and the loss of ethics and decency.