“An obsessive reflection about History, its possibilities [...] and about what is recognized as the politics of memory in today’s cultural terms. [...] In the Germany laid bare by the Argentine, we don’t hear any bombs, but rather the sound of small bones breaking, of footsteps thundering through empty hallways and the jingling of keys and broken glass. The landscapes in Pron’s Germany are made of gray roofs, factory chimneys and church steeples that can be seen through windows that reflects pale masks. The cold and grimy interiors are no more welcoming. Wartime tragedies are painted and exhibited in the bars, students walk around ‘like tanks in the desert’ while an old woman wails as she recalls the bombing of Dresden. At each step, the details that Martínez notices reveal the horror that coexists with the mundane. [...] A merciless frieze of today’s Germany, which tells us of Argentina’s present how only literature knows best, through hints and elusive clues. [...] As the suggestive images of Pron’s novels imply: the past is a broken toy, while the future is a child playing with it.”