From the first moment, in the same way as the "estate broker" Moritz, we are unceremoniously attacked by a vehement narrator who will not let us go until he has said everything he has to say. From the first sentence, a long tirade bristling with conjunctions that overlap and incidents that overlap, the thing is clear: either we leave the book, or we gain momentum so as not to stop until the end. Everything, then, is clarified very quickly, the allusions are specified, the grievances are supported with overwhelming arguments, with hallucinatory and grotesque examples, taken up and developed without leaving anything in the shadows. We will know everything about Moritz and his family, about the two Swiss ("and especially the Persian"), what they come to look for in that lost hole, populated by disturbing Austrians, where they buy unsaleable land at a price of gold, to build there a nightmare mansion. We will know everything about the narrator, and, thanks to his revelations of delirious and glacial lucidity, we will also know much more about ourselves. For as he accumulates the most insignificant details about his intimate evil, his furious voice becomes impersonal, irrefutable, universal, and, little by little, we recognize it more and more: it is the one that we all suffocate and that, from our night, says "yes" to nothing.

«The most important narrator to emerge in the world in the last 20 years» (Rafael Conte, El País).

"It's like a long cinematographic sequence in which you see the human, the everyday, the common psychological, grotesquely crushed by the metaphysical" (Nicole Casanova).

«Bernhard's work has more than enough autonomy to not require references outside its own entity, as a work that is by one of the most prominent authors of that creative resurgence, unique in Europe for its magnitude, which is the current German novel. » (From the prologue by Luis Goytisolo).