One Thursday, the narrator of this "non-Roman" is about to go to his older brother's locked house: he, his older sister and his younger brother - all over fifty years old - were called there by the police, to whom the older brother refuses to open his door. Only his brother and sister will be allowed in. The police psychologist, who is conducting negotiations with the besieged brother, fears a "suicidal incident", and the police hope that the arrival of the brothers will make it possible to resolve the complication peacefully. Last Shabbat evening, the brother sent them a message: "I am taking him out", and with this removal from the red soil of Khamara, "the important case of their lives" will begin. When they arrive, they will join Big Brother, after 14 years of not seeing each other, and seek to correct a terrible injustice from 33 years ago. In front of a package wrapped in black synthetic fabric, the four of them will have the opportunity to unite for the first time and discover face to face who they are. The narrator who created Berdogo here is a writer who was fed up with literature, which 25 years ago had great promise for him. Today he hopes that the idea of ??writing will finally evaporate from him, since "every story is a tragedy that intensifies its emptiness." But he lives in a village in the north with a woman who begged him, for unknown reasons, to have a free room where he could write. The present of the book is a day of delay: the narrator keeps postponing his trip to his brother's town and will arrive only after dark. In the meantime, he goes for a walk in the forest next to his room, and in his stream of consciousness, recurring images and situations arise, mainly from the childhood and youth of the four, the brothers and the sister. The four of them were born with a defect known as a "broken green branch", and they grew up "weakly carried in the air", "losing the battle against the empire of everyday reality", experiencing threat and terror, and with a bond based on mutual disregard for each other. Free to their own devices, they each find their own unique way to break free from the frameworks, also cut off from their passive parents, who accepted them as they are because they had to be busy maintaining life. Today the narrator knows that there is no compatibility between the brothers, sister and parents and the neurotic and heroic characters that literature usually presents. Their reality is earthly tangible things, which can be shown and touched, and not interpretation and words that are exempt from the experience itself and what happened. In the 89 "papers" of the book, screened that Thursday, Bardogo gives his narrator pages of alternative writing, with events and situations drawn with rare talent, with chilling Proustian detail. Bardugo's style, the hallmark of his writing, was reborn here in a new, exciting appearance.
