The problem of realism persists in contemporary fiction debates. Under the mutant form of a return and perhaps an anachronism, realism is today less a poetics than a rarefied space with overtones of a great battle, and in this framework Contrera reads the works of Aira and Saer; Casas, Incardona, Cucurto and Chefjec; the Campusano cinema and the Romina Paula theater. But he also discusses, with essayistic splendor, canonical critical interventions such as those of Sarlo, Ludmer or Gramuglio, to the point of making them controversial.