The three novels that make up this Passion Trilogy openly ally against labels and market trends and, since we are talking about painting, we quote Degas with Harwicz when he warns that the artist must begin his work with the same spirit as a criminal. Between 2012 and 2015, in just three years, these three novels appeared that represented a unique event in Argentine literature. We could venture in the genealogy of Néstor Sánchez, Liliana Heer or Marosa di Giorgio -and later Aurora Venturini-, manage to reach a degree of empathy, of immediate adherence, one could almost say natural, to the radical exercise of shaking and shaking the syntax of the Silver river. Since then, Ariana Harwicz not only occupies a unique and central place in Argentine narrative, but her influence has traveled throughout Latin America and also Spain, and in none of the many countries where she has been translated has she left indifferent.