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[Lemebel] speaks brilliantly for a difference that refuses to disappear.
— Garth Greenwell, The New Yorker
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[Lemebel’s writing is] provocative, strange, very Chilean, cantankerous, bitter, funny, sentimental, sharp, elegant, entirely legible and at the same time complex. . . . His work was forged in the night, in the barrio, in life and not in literature. . . . His books changed lives. To say that his work is important for Chilean literature would be stingy: his work is important for Chile.
— Alejandro Zambra
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Lemebel doesn’t have to write poetry to be the best poet of my generation. . . . No one goes deeper than Lemebel. And also, as if that weren’t enough, Lemebel is courageous. That is, he knows how to open his eyes in darkness, in those territories where no one dares enter. . . . When everyone who has treated him like dirt is lost in the cesspit or in nothingness, Pedro Lemebel will still be a star.
— Roberto Bolaño
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Lemebel’s critique of the western colonisation of sexual identity was almost as vicious as it was of the Pinochet dictatorship.
— The Observer (London)
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A remarkable and radically uncompromising chronicle of queer life in anti-queer times . . . Gwendolyn Harper’s translation is astoundingly good. It allowed me to feel that I was being spoken to directly. And to know that Lemebel’s personality, his poetry, his love, his grief, his anger, his generosity, his voice, are all still with us, and still true. Pedro Lemebel is alive! And I am in love.
— Keith Ridgway, author of Hawthorn and Child and A Shock
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A truly astonishing body of work . . . Images so alarming and original leap from every page, you come to believe that if you were to tear a page it would bleed scarlet. . . . The writings of a curbside saint labouring serene under a weight of genius.
— Lauren John Joseph, author of At Certain Points We Touch
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[Lemebel’s writing is] provocative, strange, very Chilean, cantankerous, bitter, funny, sentimental, sharp, elegant, entirely legible and at the same time complex. . . . His work was forged in the night, in the barrio, in life and not in literature. . . . His books changed lives.
— Alejandro Zambra
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A truly astonishing body of work . . . Images so alarming and original leap from every page, you come to believe that if you were to tear a page it would bleed scarlet. . . . The writings of a curbside saint laboring serene under a weight of genius.
— Lauren John Joseph, author of At Certain Points We Touch
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Pedro Lemebel said he writes from difference, and my god, what a difference. His writing is everything except boring—courageous, beautiful, vile, glorious, provocative, comforting, angry, loving, exquisite, and full of delicious venom. Reading a great writer makes life better. Reading Lemebel makes me want to live better.
— Rabih Alamaddine, author of An Unnecessary Woman
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Reading these powerfully intimate essays makes me feel like I know Pedro Lemebel. His friends are now my friends. The clothes they wore, the way the danced, the way they died—all this will live on in my memory as if I’d always had them in my life.
— Joe Westmoreland, author of Tramps Like Us
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Lemebel said he writes from difference, and my god, what a difference. His writing is everything except boring—courageous, beautiful, vile, glorious, provocative, comforting, angry, loving, exquisite, and full of delicious venom. Reading a great writer makes life better. Reading Lemebel makes me want to live better.
— Rabih Alamaddine, author of An Unnecessary Woman
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The summary effect of reading Pedro Lemebel’s shattering indictment of the American-backed Pinochet regime, of being faced with the caustic rage embedded in it, corresponds to standing transfixed in front of Picasso’s Guernica, the lightbulb eyeball glaring down at the carnage below, the ocular shriek a fitting match for the illuminating text of A Last Supper of Queer Apostles, with its story of death and resurrection.
— James McCourt, author of Time Remaining and Queer Street
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Lemebel doesn’t have to write poetry to be the best poet of my generation. . . . No one goes deeper than Lemebel. And also, as if that weren’t enough, Lemebel is courageous. That is, he knows how to open his eyes in darkness, in those territories where no one dares enter. . . . When everyone who has treated him like dirt is lost in the cesspit or in nothingness, Pedro Lemebel will still be a star.
— Roberto Bolaño, author of 2666 and The Savage Detectives
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If the world were just, Pedro Lemebel would take his rightful place on the throne of literary royalty; although I’m certain he’d reject something as anti-democratic as monarchy. A Last Supper of Queer Apostles cements his place in the canon—the literary one, the queer one, the Chilean one, the Latin American one, the human one. This collection of devastatingly gay and unabashedly political essays is, in fact, a quiver of exquisite arrows, each dipped in the blood and bile of love and hate, the only tincture with the viscosity of truth. On every one of these electrifying and gorgeously written pages—brilliantly translated by Gwendolyn Harper—Lemebel spills anti-fascist tea in dizzying prose that spins us ever closer to the collective liberation he was seeking. All hail this queen.
— Alejandro Varela, National Book Award finalist for The Town of Babylon
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[Lemebel’s writing is] provocative, strange, very Chilean, cantankerous, bitter, funny, sentimental, sharp, elegant, entirely legible and at the same time complex. . . . His work was forged in the night, in the barrio, in life and not in literature. . . . His books changed lives.
— Alejandro Zambra, author of Multiple Choice and Chilean Poet
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This book reminds me of Jean Genet, of the late great Juan Goytisolo—of everything that I love about truly queer writing. It shares their rage, their laughter, their fierceness, and their courage. A truly sensational addition to our collective heritage.
— Neil Bartlett, author of Ready to Catch Him Should He Fall
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What a joy for English readers to at last meet this humanist provocateur who celebrates and memorializes queer lives in a fascist state with fire, love, and a tireless spirit of play.
— Publishers Weekly