Few storybooks are written from the tone, from the tone. And this is a rarity, and undoubtedly a merit, is the key to the drought, the volume of Elena Moncayo (Mexico City, 1987) where the voice takes a crucial importance: the voice is the whole story. There are different types of characters and different stories, of course, but above all the rhythm and the restlessness prevails when it comes to telling. With an orality close to the warmth, with characters who, in their introspection, are fog-dense, strange-edge-figures, the voice that articulates these stories is also encouraged to talk about you, to invoke, to use the second person. And this deepens it. This testifies to their orphanage and violence.