Andrés Neuman (1977) was born and spent his childhood in Buenos Aires, Argentina. The son of Argentine émigré musicians, he finished growing up in Granada, Spain. He has a degree in Spanish Philology from the University of Granada, where he worked as a teacher of Latin American literature. Through a vote called by the Hay Festival, Neuman was included on the Bogotá-39 list among the most outstanding young Latin American authors. Later he was selected by Granta magazine as one of the 22 Best of Young Spanish-Language Novelists. He writes on his blog Microrréplicas, one of the best literary blogs in Spanish language according to a survey by El Cultural. His books are translated into 23 languages.

At the age of 22 he published his first novel, Bariloche (Anagrama, 1999, re-written for the new edition published by Alfaguara, 2015), First Finalist in the prestigious Herralde Prize and selected among the top ten of the year by El Mundo. His following novels were La vida en las ventanas (Espasa-Calpe, 2002, re-written for the new edition published by Alfaguara, 2016) and the family autofiction Una vez Argentina (Anagrama, 2003, again First Finalist in the Herralde Prize, re-written and expanded for the new edition published by Alfaguara, 2014). His fourth novel, El viajero del siglo (Alfaguara, 2009; published as Traveller of the Century in the UK, Pushkin Press, 2012; and as Traveler of the Century in the USA, Farrar, Straus and Giroux, 2012), won the Alfaguara Prize and the National Critics Prize. It was selected among the books of the year by the critics of El País, El Mundo, The Guardian, The Independent, Financial Times, and by the Dutch newspapers NRC Handelsblad and De Volkskrant. This novel was also shortlisted for the International IMPAC Dublin Literary Award; for the Independent Foreign Fiction Prize, later achieving a Special Commendation from the jury; for the Latino Book Award, and the Rómulo Gallegos Prize; as well as longlisted for the Best Translated Book Award. His last novel, Hablar solos (Alfaguara, 2012; published in English in 2014 as Talking to Ourselves by Farrar, Straus and Giroux in the USA, and by Pushkin Press in the UK), was selected as one of the best books of the year by La Vanguardia; as well as longlisted for the International IMPAC Dublin Literary Award and the Best Translated Book Award; shortlisted for the Oxford-Weidenfeld Translation Prize; and selected as number 1 among the Top 20 books of the year by Typographical Era.

Neuman is also the author of several collections of short stories: El que espera (Anagrama, 2000, re-written edition published by Páginas de Espuma, 2015), El último minuto (Espasa-Calpe, 2001 and Páginas de Espuma, 2007), Alumbramiento (Páginas de Espuma, 2006) and Hacerse el muerto (Páginas de Espuma, 2011). The volume El fin de la lectura (Estruendomudo, Perú, 2011; Cuneta, Chile, 2011; Almadía, México, 2013; Ediciones Lanzallamas, Costa Rica, 2014; Sudaquia Editores, USA, 2015) is a selection of his short narrative work. Some of his stories can be read in English on magazines like Words Without Borders, The Drawbridge or Granta. A collection of his stories translated into English, The Things We Don't Do (Pushkin Press, UK, 2014; and Open Letter, USA, 2015) was longlisted for the Best Translated Book Award, and won the Firecracker Award for fiction, given by the Community of Literary Magazines and Presses with the American Booksellers Association. He co-ordinated the project Pequeñas Resistencias, a five volume-anthology of short stories written all over the Spanish-speaking world (Páginas de Espuma, 2002-2010).

As a poet, he has published the following books: Métodos de la noche (Hiperión, 1998), El jugador de billar (Pre-Textos, 2000), El tobogán (Hiperión, 2002, Hiperión Prize), La canción del antílope (Pre-Textos, 2003) and Mística abajo (Acantilado, 2008); as well as the collection of haikus Gotas negras (Plurabelle, 2003, new edition by Berenice, 2007) and the collection of sonnets Sonetos del extraño (Cuadernos del Vigía, 2007). All these books were gathered, on a revised version, in the volume Década. Poesía 1997-2007 (Acantilado, 2008). The book-disc Alguien al otro lado (Comares, 2011) presents a brief anthology of his poems, set to music and sung by Juan Trova. His most recent poetry works are Patio de locos (Estruendomudo, Perú, 2011; Textofilia, México, 2011; Gog y Magog, Argentina, 2015) and No sé por qué (Ediciones del Dock, Argentina, 2011; Textofilia, México, 2012). Some of his poems can be read in English on this site and on poetry publications like Poetry Wales.

He is also the author of a travel book about Latin America, Cómo viajar sin ver. Latinoamérica en tránsito (Alfaguara, 2010), published in English as How to Travel without Seeing: Dispatches from the New Latin America (Restless Books, USA, 2016); as well as of three collections of aphorisms: El equilibrista (Acantilado, 2005), Barbarismos (Páginas de Espuma, 2014), and Caso de duda (Cuadernos del vigía, 2016). He has translated into Spanish Die Winterreise, the Wilhelm Müller’s poems which were put into music by Franz Schubert (Viaje de invierno-Winter Travel, Acantilado, 2003), and The Shadow Man, by Owen Sheers (Pre-Textos, 2016).


His books have received among others the following commentaries:

«Neuman has a gift. No good reader will fail to perceive in its pages something that can only be found in literature of the highest rank, the kind written by true poets who dare to penetrate into the darkness with their eyes open, and who keep them open no matter what. When I encounter these young writers it makes me want to cry. The literature of the 21st century will belong to Neuman and to a handful of his blood brothers.»
(Roberto Bolaño, Between Parentheses)

«Andrés Neuman established himself as a literary heavyweight.»
(Jessica Loudis, Times Literary Supplement)

«Mr. Neuman accomplishes that seduction, leaving readers wanting more.»
(John Williams, The New York Times)

«This is writing of a quality rarely encountered, which actually feels as though it touches on reality, translating something experienced into words, without loss of detail or clarity … When you read Neuman’s beautiful novel, you realize a very high bar has been set.»
(Jane Housham, The Guardian)

«Sometimes something stirs and shifts in the substrata of world literature: a book appears which has the potential to change what will follow... A work of true beauty and scintillating intelligence by a writer of prodigious talents
(Richard Gwyn, The Independent)

«I can only imagine how many articles would be written about an American author who’s done as much, and received as many awards at such a young age as Neuman has.»
(Chad Post, Three Percent)

«A masterful lesson in a narrative that is committed to the world’s suffering and to artistic control. He combines his sense of the narration with a taste for moving, penetrating lyricism.»
(J. Ernesto Ayala-Dip, El País, Spain)

«Brilliant and unshackled. A highly intelligent writer who is in control of a precise, sparkling language. Neuman confronts the literary work with his own momentum and with powerful, personal energy.»
(Miguel García-Posada, Abc, Spain)

«Beautiful and vibrating, full of poetry and tenderness. A complete success.»
(Ángel Basanta, El Cultural, Spain)

«We are face to face with a true writer, the sort that can become addictive.»
(Nuria Martínez Deaño, La Razón, Spain)

«Unusual maturity. The result is dazzling. There is a writer here; one of the great.»
(Andrés Magro, Diario 16, Spain)

«He is sure to become a key figure. He is simultaneously part of the Argentine and Spanish traditions, and is destined to give rise to a unique career, a sort of literary island.»
(Vicente Luis Mora, Diario Córdoba, Spain)

«Andrés Neuman is becoming the exceptional witness of a whole generation and an epoch.»
(Pedro M. Domene, Ideal, Spain)

«He brings to mind the splendour of the great masters: dazzling acrobatics galvanised by a perfect, vertiginous mechanism.»
(Raúl Brasca, La Nación, Argentina)

«Fun, intelligent, nifty, very clever. An exquisite prose combined with the sensibility of a writer who likes to shake every certainty or stereotype.»
(Susana Rosano, Clarín, Argentina)

«If someone represents something like the horizon of hispanic letters, that one is Neuman.»
(T. Pinto, The Clinic, Chile)

«Both his poetical and narrative work have the lucidity, concision and capacity to open up to new possible worlds, without renouncing the daily nature. He is without question one of the most outstanding writers of his generation.»
(Francisco Véjar, Carajo Magazine, Chile)

«A wise writer who works with equal mastery the short story, the novel, the aphorism, the micro-essay.»
(Mario Bellatin, Damas chinas Magazine, México)

«A poignant and delicate ode, lucid and vibrant, with an almost cruel lirism.»
(Philippe-Jean Catinchi, Le Monde, France)

«Masterfully composed. He settles himself at the head of the new Argentine generation.»
(Thierry Clermont, Le Figaro, France)

«Andrés Neuman proved his competence (or his talent, if you prefer it) from the first novel. His narrative work impressed me because of the knowledge that a writer who was almost still in nappies showed about subjects that are normally far from youth.»
(Joca Reiners Terron, La Folha de Sao Paulo, Brazil)

«A talent of a master of narrative art.»
(José Riço Direitinho, Diario Público, Portugal)

«This young Argentinian confirms himself as one of the greatest authors in Spanish language nowadays»
(João Morales, Os Meus Livros, Portugal)

«Confirms the talent of a writer designated as one of the greatest promises of Spanish language literature. Neuman shows that an important novel envolves something more than knowing how to tell an attractive story.»
(Ger Groot, NRC Handelsblad, Netherlands)

«At last Latin American literature has got its long-awaited European novel, with the same ambition, erudition and vitality as novels like One Hundred Years of Solitude and The Green House. Neuman is not only brilliant news for Latin American, but European literature as well.»
(Maarten Steenmeijer, De Volkskrant, Netherlands)

«Neuman multiplies the language and walks to become a classic».
(Daria Galateria, La Repubblica, Italy)

«Imagine if Lydia Davis, Jorge Luis Borges, and Donald Barthelme spawned a literary child...»
(Jason Christian, World Literature Today)