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He goes so far as to imply some readers would lick it to simulate licking Merced de Papel.
I found Plascencia’s author/book/reader relationship more thought-provocative than, say, Joanna Russ’s abrasive/defensive approach in , even when Plascencia denies us access to the text by blocking it out or relating to us the inner thoughts of the mechanical tortoise in binary code.
Plascencia takes us into a world of impermanency, one where people are constantly shedding skins or changing.
In the most physical sense, there’s Merced de Papel, who “never allowed history to accumulate, her skin changing with the news of the world.” (164) Other characters are changing themselves physically (burning, cutting, patching, covering up in lead); fleeing their own lives and leaving dust; or altering their identities in some other way.