A boiled-down gem of a Marías story about how Elvis (in Acapulco to film a movie) and his hard-drinking entourage abandon their interpreter in a seedy cantina full of enraged criminals after insults start to fly. When the local kingpin demands to be told what the Americans are saying, Elvis himself delivers an even more stinging parting shot — and who has to translate that?

Called by its author a false novel, Dark Back of Time begins with the tale of the odd effects of publishing All Souls, his witty and sardonic 1989 Oxford novel. All Souls is a book Marias swears to be fiction, but which its characters-the real-life dons and professors and bookshop owners who have recognized themselves-fiercely maintain to be a roman a clef. With the sleepy world of Oxford set into fretful motion by a world that never existed, Dark Back of Time begins an odyssey into the nature of identity (we do not know anyone entirely, not even ourselves) and of time. Marias weaves together autobiography (the brother who died as a child; the loss of his mother), a legendary kingdom, strange ghostly literary figures, halls of mirrors, a one-eyed pilot, a curse in Havana, and a bullet lost in Mexico. Dark Back of Time has been acclaimed here as superb (Review of Contemporary Fiction), fantastically original (Talk), brilliant (Virginia Quarterly Review), and a rare gift (The New York Times Book Review). In the best manner of Borges, The Hudson Review commented that this hybrid is lush and mysterious

Glinting like a moonstone with layers of emotion, The Man of Feeling is a sleek and strange tale of cosmopolitan love. An affair between a married woman and a young man just becoming an opera star (curiously helped along by the husband's factotum) meets with adamant resistance from the implacable husband. Narrated by the young opera singer, the novel opens as he recalls traveling on a train from Milan to Venice, silently absorbed for hours by the woman asleep opposite his seat. In the measured tones of memory, The Man of Feeling revolves on the poles of anticipation and recollection. The peculiar rarified life lived in the world's luxury hotels, a life of rehearsal and performance, the constant travel and ghost-like detachment of our protagonist adds a deeper tone to the novel's weave of desire and detachment, of consideration and reconsideration: its epigraph cites William Hazlitt: "I think myself into love,/And I dream myself out of it." As Marías remarks in a brief afterword, this is a love story "in which love is neither seen nor experienced, but announced and remembered." Can love be recalled truly when it no longer exists? That twist will continue to revolve in the reader's mind, conjuring up in its disembodied way Henry James' The Turn of the Screw. Beautifully translated into English for the first time by Margaret Jull Costa, this fascinating and eerie early novel by Javier Marías bears out his reputation for the "dazzling" (TLS) and "startling" (The New York Times)

Victims of mistaken identity, sponging relatives, amateur sleuths, eavesdroppers, professional liars, assassins, and failed bodyguards populate the short stories in When I Was Mortal. Plots turn on curious exigencies — a woman about to star in her first porn film; a night doctor who adds new meaning to "specialist"; a ghost whose neglect is greatly resented. "In the space of ten or twenty pages," as the Nouvel Observateur remarked, "Marías contrives to write a novel." "The short story fits Marías like a glove," as Le Point noted, and these stories have been acclaimed as "dazzling" (The London Times Literary Supplement); "formidably intelligent" (The London Review of Books); and "startling" (The New York Times Book Review)

A Dozen unforgettable stories by "one of the most original writers at work today" (Wyatt Mason, The New York Times Book Review). Slippery figures in anomalous situations — ghosts, spies, bodyguards, criminals — haunt these stories by Javier Marías, "the most subtle and gifted writer in contemporary Spanish literature" (The Boston Globe)

Few books in recent decades have excited the interest of readers and the raves of reviewers like Javier Marías's Your Face Tomorrow: 'This brilliant trilogy must be one of the greatest novels of our age' (Antony Beevor, The London Sunday Telegraph). Now available complete – all three paperback volumes in a shrinkwrapped set – Your Face Tomorrow in its full trilogy, one of the greatest literary masterpieces of our time

Your Face Tomorrow, Javier Marías's daring novel in three parts culminates triumphantly in this much-anticipated final volume. Poison, Shadow, and Farewell, with its heightened tensions between meditations and noir narrative, with its wit and and ever deeper forays into the mysteries of consciousness, brings to a stunning finale Marías's three-part Your Face Tomorrow. Already this novel has been acclaimed 'exquisite' (Publishers Weekly), 'gorgeous' (Kirkus), and 'outstanding: another work of urgent originality' (London Independent). Poison, Shadow, and Farewell takes our hero Jaime Deza – hired by MI6 as a person of extraordinarily sophisticated powers of perception – back to Madrid to both spy on and try to protect his own family, and into new depths of love and loss, with a fluency on the subject of death that could make a stone weep