An invented autobiography—or a portrait in which every woman recognizes herself? Yuna has been transferring all her feelings onto canvas since childhood, because painting is the only language she controls. The world of a dysfunctional family in the Argentine city of La Plata—an all-female house without men, full of women with physical, mental, or imagined “uglinesses”—is the image that brings her fame and new trials. The debut novel of eighty-year-old Aurora Venturini, a friend of Jean-Paul Sartre, Albert Camus, and Eugène Ionesco, whose work threatens every literary convention of language.