This article analyses the depiction of the effects of alienation caused by migration. The non-mord hand of Ornela Vorpsi through the link it creates between fragmentation of the idea and meeting with aesthetics. Art, in the same way as subjectivity dissociated from migration, creates a fictitious world and promotes the removal of personal reality — something that may prove to be destructive of the individual’s psychological stability. In this novella, such a meeting with a disturbing aesthetic (echoing the parallel episode in the Dorian Gray ring of Oscar Wilde) is in line with the experience of returning migrants to their country of origin, and creates a array of characters marked even physically by the loss of the previous stability of their identity.