“El amo bueno happens in the garden of a house in a street of a neighborhood in Buenos Aires: its three main characters (for lack of a better word) are dogs, and at no point is there anything relating to the literature that resembles a souvenir, a sophisticated element that approaches kitsch. Lost as it is in its own folds, among its theoretical digressions and desire to subscribe to the present, this is literature that defends itself.”

“Tabarovsky is offering an absolute left wing literary proposal: revolutionary topic and not very acquiescent, and also a revolutionary form... A narrative where the main characters are discourses (Marxism, Judaism, Psychoanalysis, Sociology or History); the actions, thoughts; the plot, discursive counterattack; the endings, more questions or something like “continuing pulling the thread.”

“Strictly speaking, there is no plot. There is action in progress. There are three dogs, in the insignificance of a garden, that bark at anything that passes by, pointing things out in their nudity, in their nature as mere events. And, because there is narration, things can be what they are as well as something else.”

“El amo bueno is the triumph of writing, of a writing free from any corset of genre, one that fluctuates with absolute freedom between the narrative form, sometimes even bordering in the anecdotal, and the essay or philosophical treaty, without respite. It is an enormous gift for the most restless of readers.”