In 1969, Rodolfo Walsh (1927-1977) changes his esthetic purposes highlighted five years ago (when he left journalism for writing fiction) and disrupts his own authorial figuration already established. The approach to political militancy in the cultural and vital vertigo of late 60s (in the weekly paper of the opposing syndicalism in 1968-69, since 1970 in armed groups) obliterates the subjective use of time and unsettles the self-imposed slowness, but it don`t interrupt the tasks of a writer. Wanting to channel the speed of revolution in the meticulous craft of read/write, Walsh generates a poetics that exceeds fiction and aesthetics. Contiguous to journalistic and political work, the imagination of a novel arises, between sets of stories and chronicles, between tensions on personal papers recuperated in 1996, in the framework of ¿Quién mató a Rosendo?, that converts the press campaign in a book. Although this book of 1969 allow to synchronize Walsh with Puig, Saer, Tizón and others, in the emerging corpus of the pos-Borges tradition in argentine literature, the poetics of Walsh go beyond the printed media and the expectation of the new dated in 1969; it offer an outdated novel that works in argentine contemporary literature, from Ricardo Piglia to Hernán Ronsino.