« There’s a good thing about write books like this: it will be reading by your friends, by the people that loves
you. And then they stop to love you. What a relief! » That’s the way this novel begins, and those words could avoid us more comments. In the same way, we could reproduce the next real conversation between a famous French writer and this book’s author: —You have a problem: you write thinking about young rebels. And people that buy books in our times are not neither a thing, nor the other . Rebellion is an anachronism. There’s no rebels anymore. —You’re right. There’s no young people even. In each page you can find the same sarcastic nonconformism, mounted on the humor of language and situations, that carry out a kind of residual effect rather corrosive. It’s not, by the way, a “contraindications free” book. The thin line that drive the narration it’s a police case, but neither the main character seems be worry about it, in spite of the fact that he can be seriously committed by. It’s because the novel it’s (more than nothing) the meticulous record by the protagonist’s look walking, with some perplexity disguised of cynicism, around the people and circunstances of our time, which he defines as “the age of affection, that bastard and disabled son of passion”. The originality of Barron’s style can shows us the more delirious or even fantastic situations and characters as usual and recognizable daily things. There’s the beggar boy with wheels instead of feets that lodges in his poor cardboard cabin to a biblical and immortal character, and there’s the lawyer that lives together with a robot called President Perón, and there’s a sister and brother that lives as a romantic couple and want to adopt a baby… In each case, the feeling of the reader it’s never strangeness but recognition, and complicity, because the motive power of Barron’s imagination it’s nourished by all which happens right in the streets… of course, trespassed by his sharp lens of sarcasm. Néstor Barron was born in Buenos Aires, where he lives at this time. In the last 15 years, he wrote numerous books, radio scripts and TV shows. He works as a comics writer for many publishers from Europe, where he also wrote and directed a few documentary films. Consulted about this novel, instead of an analysis from the author’s point of view as the publishers waited, he just sent an email in which said that the book “must be interesting, as long as it wasn’t published by any multinational book enterprise”. This kind of answers shows that in his case it’s very hard to trace the real limits between the author and the character. At this time, Néstor Barron works on his next novel, called “:Jazz:” and defined by him as “the greatest argentinian psychotic novel” (?), and on a short-stories collection named “How to kill your mother and the mother of your childs”