Imperfection belongs to this world. The detective novel is perfect because in it crime does not pay; the world is imperfect because in it, paradoxically, the perfect crime does exist: it may happen that the guilty party is not discover. And so, while he dreams of writing the novel in which mario martínez will clarify a crime that stubbornly seem to have no solution, death bursts into his closest circle to disrupt the fragile balance that his stories provid. The search for answers becomes obsessive and roby weaves a plot of suppos clues that end up forging an explanation that explains what happen.
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However, many years later, those pieces will move capriciously, demonstrating, as in a game of mirrors, that nothing is what it seems to be. He himself will be a victim of that human tendency to string together the fragments of life with the threads of a business database narrative, upon hearing the version of the one who, years ago, had given him the clue to clarify that death: «Chino continu on his way. I had been a gullible victim of a magnificent storyteller. He had fallen into the trap of suction into which, since adolescence, he fought for my readers to fall.
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However, writing persists as a source of meaning and organizing instrument of a chaotic world . Years later, Roby, now a writer, will publish two novels with titles that embody the theme that always obsess him and that discovery of his roots as a writer: The Perfect Crime and The Mystery of the Inheritance. (p. 344). The debts are recogniz and Phone Number VI Río Fugitivo honors them: Roby’s devotion to a representative writer of the boom, Mario Vargas Llosa – Paz Soldán has recogniz him as one of her earliest and most vigorous influences – is clearly manifest: «Vargas Llosa was my model, I want – I want – to write about Bolivia as he writes about Peru