“Besides, you have to be constantly suspicious of your memories. In the end, recollections always contain a certain amount of invention, don’t they?”
How does one record the traces left by another person over the course of a lifetime: what becomes a memory and what is discarded? Here are twenty-four moments, photos that freeze for an instant the relationship between Vera and Cecilia, which began in a neighbourhood square when they were only three years old. Framed by the events that have shaken the country for several decades – the shadow of the Malvinas war and the dictatorship, economic crises, cultural changes – these scenes speak of the chiaroscuro of friendship. From childhood games, complicity and jealousy to first love experiences, couples, children, losses, fights and reunions. There is a family secret that is pursued. A mother who silences. Through these frozen moments, the author manages to allow the reader to see, literally, these two women who share their lives for fifty years.
24 Photos (“24 fotos”) is an exciting and agile novel, which establishes Andrea Ferrari as a writer for literature lovers of all ages.

“I’m ashamed of many things: my extremely long arms, my enormous feet, my ungainly body that I can’t even conceal with extra-large overalls. Also of the fact that my mum is pregnant (because who wants a little brother when they’re 14?). But most of all I’m ashamed of my face: a constellation of infinite pimples. So it was great when the world came to a halt with the pandemic and the all-covering face masks arrived. With my face hidden, I became a different person, someone capable of doing things I could never have imagined. Plus, I met Liz. And Melina: that was the best thing of all.
In Behind the Mask (“Detrás de la máscara”), Andrea Ferrari talks about the questions, insecurities, and decisions that arise during the teenage years: What do we show of ourselves? What do we want to hide? How do we face the gaze of others?”

The Picture of Verónica G. (“El retrato de Verónica G.”) refers to an advertising image of a beautiful young girl, Verónica, and its impact, told from the point of view of Lucía, one of her best friends. When Verónica is discovered as a model, her image invades the city, on billboards and in magazines. It provokes admiration and envy and even a ects Verónica’s relationships with her closest friends. They discuss the importance of appearance in all areas of life, and manipulation in the social media. They become distant, and when Verónica starts having problems with her boyfriend, she feels left alone. Society’s focus on the appearance is questioned by a growing group of people: at the same time that the photo makes Verónica famous, a women‘s movement in the world explodes against the mandate of traditional beauty. #fuckbeauty is the slogan that takes over the streets. In a dialogue with “The Picture of Dorian Gray” by Oscar Wilde, this sharp and contemporary novel for 14-year-olds speaks of the privileges associated with beauty and the humiliations of achieving it, captivating the reader until the very end of the novel, and beyond.

The Equals (“Las iguales”) is a story of twins, of how you live when you have someone who is almost the same as you… but not quite. At the age of 10 Vivi meets a boy, Luciano, and begins to feel the need to stop doing everything together with her sister Vicky. Vicky, on the other hand, doesn’t understand this and even feels offended, leading to conflict between the sisters. Alternating by chapters entitled “Vivi” and “Vicky” respectively, the story is told with the two voices of the twins as they speak to Marta, a psychologist who interviews them following an incident at school when Vicky posed as Vivi for an exam. The voices are as different as the girls’ personalities, who ultimately learn to love each other by recognizing each other’s different personalities. A novel that invites us to dive into the preferences and conflicts of two girls as they discover their identity.

Sol Linares is an atypical teenager. Cynical and lonely, she spent her childhood in the editorial office of a newspaper and always knew she would be a journalist. Her opportunity comes when, next to the hotel where a crowd of girls await the appearance of their favourite musician, she finds the body of a murdered man. With a harsh look at the world of journalism, The Speed of Music (“La velocidadde la música”), the first instalment of the series Sol by Night (“Sol de noche”), immerses its protagonist in the field of music and its fans to trace the motives for a crime. At the same time, Sol will begin to look into another, more disturbing mystery that lurks within her family. In The Signs of the Lie (“Las marcas de la mentira”), she faces the dubious circumstances surrounding her mother’s death, while in The Noise of Success (“El ruido del éxito”), Sol enters into the ups and downs of a loving relationship and discovers the truth of her family past.

Chimpanzees Look Into The Eye (“Los chimpancés miran a los ojos”) is a novel conceived with intelligence and sensitivity. It achieves what is so difficult for any narrator: to capture the reader’s attention from the beginning, and to keep him or her interested in the story both for the development of the plot and for the characters. The creation of a narrative voice in the first person, authentic and convincing, is one of the main successes of this work. But so is the accuracy of the story, the psychological intensity of each situation, and the carefully measured manner in which conflicts are presented. With this novel, the Argentinean author Andrea Ferrari shows again her narrative clairvoyance, which places her at the forefront of the writers of children’s and young people’s literature in her country.

Ana is fifteen years old and has a parallel life in a virtual world. There, she transforms into Ishara, a beautiful and tough warrior. But how long can she close her eyes to the secret hidden in her real life? A novel that shares techniques with cinema, Zoom immerses us in an agile plot in which the action moves forward and backward as if seen through a camera, which sometimes zooms in and finds the unexpected.

Francisco Méndez is fourteen years old, has an extraordinary intelligence and a passion: Sherlock Holmes books. Not only does he know more about the famous detective than anyone else, he also thinks like him. His family and friends expect his intellectual brilliance to make him famous, but these expectations burden Francisco, who doubts himself. In Sherlock’s Path (“El camino de Sherlock”), three strange murders of women in his neighbourhood serve as a test and lead Francisco down a fascinating path. Humour and police intrigue are combined in this magnificent novel.
In It’s Not Easy Being Watson (“No es fácil ser Watson”), Francisco Méndez dives into another case. This time it is his friend and assistant Arturo who tells the story. But this “Watson” brings with him his own anxieties, a difficult love affair and eternal doubts about his role as the second wheel, the slow one, the one who seems to be there only to let Sherlock’s mind shine. It’s just not easy being Watson.
After college, the paths of Francisco and Arturo – or Sherlock and Watson, according to their nicknames – seem about to go their separate ways. Unable to maintain a social life or get close to women, Francisco turns to his new job as a detective’s assistant. Arturo, on the other hand, just wants to enjoy the holidays in good company. But he can’t help being drawn into the events that shake his friend’s life: the case of a famous stolen painting that puts him in mortal danger, and the reappearance of the beautiful and disturbing Violet. Don’t Call Me Bond (“No me digas Bond”) is the last part of this trilogy.