Victoria Caceres was born and raised in Buenos Aires, Argentina, in 1968. She studied Lettres and Philosophy at University of Buenos Aires. She is a writer, a teacher of English and Spanish, a translator and a literary mentor.

　　She won the Short Story Award of "V de Vian" Magazine in 1997. In 2004 she was chosen for the International Writing Program in Iowa City, USA; and the International Visitors Program by the USA Embassy, for which she was granted the Honorary Fellowship in Writing. While in USA, she lectured at University of Iowa and University of Chicago. As a member of State Alumni of USA Embassy, she has been a literary advisor for the Cultural Office and the Book Fair of Buenos Aires since 2004. She has also worked as a creativity guide and literary consultant at University of Buenos Aires since 2012.

　　Her works have been translated and published in USA (University of Iowa); in South Korea (Korean Arts Council); in India (Olive Publications) and in Uzbekistan (Ex Oriente Lux). She has written "The Turkish bath" (stories); "Monastery" (stories); "The missing tone of blue" (novel); "The large glass" (novel); "Sublime love" (novel) and the recently finished "Fleeing Pollock" (novel). She currently writes fiction and essays about Argentinian literature for Olive Publications, India; is co-writing a book with Uzbek writer Isajon Sultanov about the literature and culture of their native countries; mentors novelists on editing their work; keeps a blog about the relationship between the city of Buenos Aires and its inhabitants (www.yosoymimusa.wordpress.com ) and is working on her new novel "Scherezade and Hermes".

　　Caceres says about her work: "As a writer I started with short stories and then went on to write novels. The biggest challenge of this task is the inner architecture of the narration; like a house or a building, each element, material, proportion, correspondence has to be thought out thoroughly and the novelist needs to develop a method, a plan, a map and create a whole world where to place characters, situations, feelings. What I love about this process is that you get to live inside this layer of fiction all the time; sometimes for years. It becomes a part of you, or you become a part of it, but there is a point where you cannot tell what is more real, if your everyday life, or the one inside the novel in progress.

　　As a novelist, my work focuses on the interrelationship between the individual and the others, especially in overcrowded spaces such as big cities. I always say that I write to find the proper distance between the others and me… In a novel I get to explore, analyze, experiment and play with the elements present in most urban situations, where everything feels entangled and it is hard to separate people?s emotions from traffic, streets, buildings, speed, pressure, crowded spaces, pets, advertisements, electricity poles, smoke; all of these turning the line dividing the public and private sphere blurry.

　　Creating fictional worlds, even if based on real places, is one of the most free, liberating acts of imagination a human being can carry out."