A few days ago, two well-known authors, suspicious of the creative abilities of generative artificial intelligence, put it to the test and the result was not what they expected. "We asked it to write a one-paragraph story in a baroque style with the sole premise that it had to feature a dog walker, and the story was coherent and not bad at all, but then we asked it if it could rewrite it with our own particularities as authors, without giving it any other clue, and it did it even better," comments Irene Pujadas, winner of the latest Finestres award with La intrusa (L'Altra, 2025) and one of the participants in this experiment. The other was Mariana Enriquez. "We weren't satisfied with what the AI achieved and we wanted to know how it had decided what choices to make in each case –continues Pujadas–. It replied that, in Mariana's case, it had set out to write a story with a touch of mystery that was not found in the characters, but rather related to the spaces where it took place, as she usually does in her fiction. In my case, connecting it to my literary world, the dogs in the story were taking an emotional management course and everything ended up having an absurd bureaucratic touch".

In the novels and stories of the Argentine Patricio Pron (Rosario, 1975) nothing is simple or obvious, but readers who delve into them will find a sophistication, both in form and content, that will reward them handsomely. In En todo hay una grieta y por ella entra la luz (Anagrama, 2026), the life of the poet, filmmaker, and artist Benjamin Fondane (1898-1944) motivates the initial two-page paragraph, but Pron immediately dynamites his plans: the rest of the novel is a succession of notes and footnotes that cover the year the writer himself spent in New York and stimulate reflections on climate change, gentrification, the rise of authoritarian discourses, contemporary art, and romantic relationships.