In this final chapter, I put forward an analysis of Los topos (‘The Moles’, 2008), a novella by the Argentine author Félix Bruzzone, both of whose parents were murdered during the dictatorship. Although the biography of the author seems to continue the tradition that stipulates that only those who were ‘directly affected’ by violence are entitled to the rights of remembering, I will make the case that Los topos works as a counter-performance to the idea of the ‘wounded family’ as the only victim of the military violence. More than this, Los topos provides a queer, insurgent and ironic version of the performance of blood, one that suggests a more fluid entanglement among kinship, loss and political heritage. My proposal, then, is to read Bruzzone's novella alongside the radicalisation of the struggles around the past which have emerged in the country since Cristina Fernández de Kirchner took office in 2007. In this context, Bruzzone's book can be conceived as an enhanced response to the black humour that permeated H.I.J.O.S.' organisation during the mid-1990s, at the same time that it assesses the contradictions and limitations of a politics of mourning when it becomes officialised. Although Los topos was published in 2008, I ultimately suggest that Bruzzone's fiction not only prefigured the affective environment that surrounded Néstor Kirchner's death in October 2010, but also envisaged the expanded language of kinship that is currently in play in contemporary Argentina.