Jesús Ferrero is a Spanish writer born in 1952 in the Spanish province of Zamora. After completing his secondary education he studied literature in Zaragoza for a while and then moved to Paris to study ancient Greek history at the École des hautes études en sciences sociales. Ferrero, like Javier Marías or Antonio Muñoz Molina, is a writer of that new Spanish prose which developed after La Movida Madrileña (Madriliene Movement), one of the early post-modern currents. He has written numerous novels, poetry collections, short stories, essays and screenplays. He is, among other things, co-author of Pedro Almodóvar's film Matador. He is one of a group of well-known Spanish novelists, which includes Julio Llamazares, Javier Cercas, and Andrés Trapiello, who have published fiction in the vein of "historical memory", focusing on the Spanish Civil War and the Francoist State.<ref>Gina Herrmann, Mass Graves on Spanish TV, essay in Unearthing Franco's Legacy, p.172, 2010</ref> Ferrero's debut, Chinese-set novel Belver Yin (1981) was one of the most successful and critically acclaimed in post-Franco Spanish literature, and helped him to establish himself as one of the major writers of La Movida years. With novels set in Tibet (Opium, 1986), Barcelona (Lady Pepa, 1988) or Berlin (Débora Blenn, 1988), Ferrero continued during the 1980s a literary exploration characterized by eclectic intertextuality. Fererro’s book El Efecto Doppler (1990), follows a precise choreography which shows the protagonist, Darío, caught up in a complex tale. During an evening meal in Paris the young Rosaura blows her brains out in front of the diners: "Suddenly she looked at me and took a pistol from her bag. Without stopping her whistling she put the weapon to her temple." Every gesture, every look follows a kind of message, and Darío, Rosaura’s cousin, takes it upon himself to create a meaningful entity from the seemingly unconnected clues. In calm, very precise language and in a very detailed, cleverly devised structure Ferrero tells in his novel a gripping love story and at the same time makes us consider the limits of our perception. Precise, too, is that view which the hero has in the novel El diablo en los ojos (1998). Since young Leo Salgado has been focussing his camera lens on his own family, he senses the great influence of this instrument which is able to record everyday trivialities and their most intimate facets. The camera here is the up-and-coming creative genius