I n 2010, just weeks before the Soccer World Cup, Angélica, a fifty-year-old divorced mother of a teenage son, travels from Barcelona to Buenos Aires, her hometown, because her mother has died. In the process of emptying out the family apartment, the woman begins to investigate and remember Bela, blurred by her years of absence. Then the novel opens like the fingers of a hand, alternating several narrative threads: her mother’s physical decline, which is a reflection on old age and death; Angélica’s passionate youth in the Argentina before the dictatorship and the disappeared; a bitter dispute with her sister-in-law over the inheritance; her own marriage, and fina-lly, the trajectory of her colorful family, who arrived from Italy a century earlier and, like all families, has a secret. The city of Buenos Aires appears as another character in all this, over the course of a hundred years of history.
On the border of fiction and reality, Patrícia Gabancho creates, in impressionistic sketches, a universe populated by women who struggle to build their identity.