this article proposes an interpretation to the narrative of the Chilean writer Nona Fernandez, sustained from a historical and memorial constant. From there, Fernandez configures a complex framework, erecting a spatiality crossed by various residues: material and corporal, literate and imaginary. This configuration of the residual functions as a political gesture that problematizes any possibility of modernity. The analysis will focus, first, on the novel Mapocho, second, in the novels Av. 10 de Julio Huamachuco and Chilean Electric, third, in the trilogy of memory and dictatorship.