Eduardo Halfon is a brilliant storyteller, whose gifts are displayed on every page of this beautiful, daring, and deeply humane book.

Radio, or at least the kind of radio we're proposing to do, can cut through that. It can reach people who would otherwise never hear your work, and of course I find that very notion inspiring. Radio stories are powerful because the human voice is powerful. It has been and will continue to be the most basic element of storytelling. As a novelist (and I should note that working my novel is the first thing I do in the morning and the very last thing I do before I sleep), shifting into this new medium is entirely logical. It's still narrative, only with different tools.

There are stories that are by and for Latin Americans, where a certain amount of cultural fluency is expected, where we can delight in the details, the humor, the particularities of speech, of dialects. Something is always lost in translation; we know instinctively that this is the case. A Radio Ambulante story looks at Latin America from the inside.

Writing an op-ed feels like I'm taking the SAT. It's so hard. It feels like homework. And if it feels like homework, it just doesn't get done.

Meaning can be usually be approximated, but often by sacrificing style. When I review my translations into Spanish, that's what I'm most concerned with, reading the sentences aloud in Spanish to make sure they sound the way I want them to. To be honest, I much prefer being translated into Greek or Japanese; in those cases, you have no way of being involved, and no pressure.

What I'm most interested in is not necessarily the wound, but the scar. Not how someone is wounded, but what the scar does later.

Peru is a country where more than half the people would emigrate if given the chance. Thats half the population that is willing to abandon everything they know for the uncertainty of a life in a foreign land, in another language.