January begins in Buenos Aires. As throughout the world, Christianity and civility have celebrated the 2016 rebirth of the Lord and, equally, the New Year. And as in the whole country, half plus one of the electorate has celebrated the arrival to the presidency of a businessman who based the campaign on the effort -on the purpose- of producing non-confrontational dialogues, that is, the end of ideologies.

The development of this novel could not be alien to this context, although it is for one of its protagonists, the psychoanalyst Andrés Kowes, who, beset by a strange malaise, decides to write about himself instead of doing it, according to his habit, about their patients. Separated from his wife, children abroad, he lives without company in a ph, where he has his office. When the symptoms limit his movements, he discovers a tasteless white powder mixed with the sugar in the container he uses to sweeten his mate every morning. He has been poisoned, only a patient can be responsible.

Esteban Riquelme, the investigator to whom the case is assigned, must orient himself by reading his notebooks. A fate of the novel and of life is that the word of the dead obliquely expands his heartbeat in the space of death. Riquelme's special inclination, jazz is present in the evolution of his concerns when trying to distinguish, among the impulses and fantasies of patients, the person capable of carrying out the absurd act of killing.

In this work there is a cross between black novel, psychoanalysis and jazz music. In a staging of the scene, the protagonists are disturbed by the blackness of the novel, by the unconsciousness of psychoanalysis and by the enigma of a theme executed by Coleman Hawkins: Out Of Nowhere.