The legend of the insurgency is here developed from the personal literary viewpoint of the writer who is involved in the events as an observer and recorder but also as a comic-tragic hero, whose controversies reflect the spirit of the insurgency. The narrative tone is as tragic as it is comic thus capturing the two dimensions of the events: a. The claim for the redress of the injustice done against a generation trapped in the consumer and educational ideals that were deprived of any trace of intellectual rigor; and b. the incapacity to grant this claim a viable political shape and perspective the consequence of which was the ending of the potential of this movement in a farce. The narrative spans the entire development of the chronicle of the revolts from the murder of the student to the denouement of the events that takes the form of a fictional device: History and fiction are intertwined in such a manner that the narrative also profoundly questions the warlike strategy of the youth and its fixation on a conflict destined to be anarchic and inconclusive, and doomed to a banal end within the restoration of a daily routine. In this case, the young people were heroes and at the same time infantile agents or comic actors in a play they had not authored: conflicted, very much like the society that has born them, these youths demonstrated the most original bravery but simultaneously suffered from an inevitable lack of vision and political intelligence that made them look already old.
The narrative features a series of typographic experimentations that thus transfer the battlefield of the insurgency to the frame of the printed page. Hence, the text attempts to embody the object of its narration.
