The fantasy, touched by an author as it was Adolfo Bioy Casares, a type tending to the earth, existentialist, deep in his way of narrating his different detective novels or even science fiction, ends up endowing this specific literary work with a singular nature halfway between estrangement and melancholy.
Among the lower Buenos Aires neighborhoods, back in 1927, the carnival days are a festival to which Emilio Gauna and his friends indulge, young people who, in the absence of being able to eat the world, devour the night accompanied by alcohol. The fantasy that surrounds this novel sometimes seems like a delirium of so much alcoholic excess, but at the same time it becomes a powerful memory rooted with full certainty.
What Emilio Gauna ended up seeing those nights of pagan festivities will lead him three years later in his search, repeating similar patterns, hoping that magic responds like a déjá vù of what has certainly been lived.
Emilio knows that his fantasy can lead him to other options, other lives, away from the people who prevent him from taking off from this world. On the other side of the opportunities that await, he will find Clara, completely given over to him.
Every transcendent journey entails its risks. Any idea that reality can be transformed by fiction can end up dragging you out of that real world. But Emilio is willing to pay the price, even if the ideal can only be a smokescreen in the end.
What's more, the risks inherent in that conquest of the fantastic, such as an opportunity to rebuild his life at will, can end him before even knowing what may or may not be true in those types of dreams that you seem to touch. moments after coming out of a dream.
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