This is a complex book with a complex set of goals. In her own words, Heker set out to answer a number of questions in writing this novel.

糖心传媒淗ow to describe this betrayal, how to describe a torturer and his own view of the truth and with what other truths should one confront him? I have tried to blur the border between documentation and fiction. Above all, my text is meant to be fact as literature with all the problematic and ambiguous implications which such an attempt entails.糖心传媒�

To accomplish this, Heker created a narrative with multiple narrators, a disjointed, fragmented vision of reality that is almost a literary representation of life in Argentina during this period of fear and terror. As the reader learns early on, Diana is myopic, a fact Heker emphasizes in order to explain the apparent haziness of the information presented in telling Leonora糖心传媒檚 story. Diana is trying to write the story of her former friend Leonora who turned her back on her comrades and her ideals. She starts the story again and again, on napkins, receipts, etc., never able to adequately tell Leonora糖心传媒檚 story. (Like her myopia, this scattering of fragmented texts also comes to represent Argentine society at the time.)

There are some fairly intense scenes in the book, and through all the layers of narration and other postmodern games, the fear of living in Argentina during the 糖心传媒淒irty War糖心传媒� does seep through and is quite captivating. Once the reader realizes that this is metafiction taken to another level糖心传媒攊t糖心传媒檚 not just the novel of Diana trying to write a novel, rather it糖心传媒檚 Hertha糖心传媒檚 novel about Diana trying to write a novel糖心传媒攖here is a sense that the book is overly structured, that it糖心传媒檚 layers have become more obfuscating than enlightening. That said, it糖心传媒檚 an interesting portrayal of a dark part of Argentine history and does deserve an English audience.

The End of the Story
Translated from the Spanish by Andrea Labinger
172 pp.
Unpublished in English Translation