Growing old disgracefully in Mexico City, Teo takes his revenge on the pretensions of artists and revolutionaries, with black humour over the demise of several dogs and a steadfast refusal to write a novel. It's his ill-concealed complicity in the canine element of tacos, and the understated references to the earthquake of 1985, which make you understand he will finally create the readable anti-autobiographical, anti-Proustian reminiscence.