(Chile)

Maori Pérez (Santiago de Chile, 1986) He studied English and Spanish at the Universidad Metropolitana de Ciencias de la Educación. Writer, musician and teacher, he was awarded the Roberto Bolaño literary prize for young creation and is the leader of the post-punk band Los Pianopunks. He has published the books Cerdo en una jaula con antibióticos (short stories, 2003), Mutación y registro (short stories, 2007), Diagonales (novel, 2009), Lados C (short stories, 2011), Oceana (YA novel, 2012) and Instrucciones para Moya (novel, 2013). He has also been commissioned a script for a Wii game called La vida otra vez.


  • Instrucciones para Moya (Instructions for Moya) Publisher: Libros La Calabaza del diablo I Language: Spanish I Year: 2013 I Pages: 78 I Rights: World

Instrucciones para Moya is a short novel, a novelette; composed using different narrative platforms, of 50 small fragments linked together to form a delusional and disturbing love story. It is also a manual of instructions that describe the ideal forms of behaviour when approaching someone you instantly like.

The main character, Sebastián Moya, is a young twenty-something, who loves listening to music and attending wild parties in the home of millionaires. The story takes place in less than a day in the life of the character (seven hours and six minutes, to be specific), from when Sebastián leaves his house, where he performs his daily routine made of trivial habits, until he returns, lies down in bed, sleeps and begins to dream.

The plot begins to disembroil when Sebastián Moya attends a party at the house of his wealthy friend Shinjiro, and meets Camila Mena Mora and feels instantly attracted to her. After a couple of hours of dancing and messing around, while Sebastián is absorbed in his own thoughts about whether the girl is really into him or not, two guards crash the party and take Camila away. Moya continues on partying and meeting girls, but the thought of the disappearance of Camila makes his drunken mind wander a very dark territory.

While attempting to be a metaphor for the disappearance of people during the dictatorship, this book can also be seen as a parody of wild parties at the Blondie Discotheque in Santiago, and of illegible contemporary novels such as Ulysses or In search of lost time. Perez’s novel seems to create a space for resistance within the borders of literature, turning a hectic stream of consciousness (his own, but also the consciousness of others) into a mature, funny, risky text, worth reading and re-reading.

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