This article proposes a reading of Roberto Bolaño’s wild detectives (1998) on the basis of an analysis of certain processes of unfitness and spectrality that are passing through, cracking and ever interrupting the multiplicity of stories of the novel. We focus attention on one gesture, the poet caesarean TinATM, one of the key characters of the book, to see how Bolivian research on the margins of history and its fantasms is revealed in a genealogical way. Caesarean leaves the Federal District, leaves the Stridentists and the Mexican Revolution and returns to the desert of Sonora. Time differentials matter to us: those of a gesture that continues to emerge in a present that tells him. Finally, we try to think of this dialectic and anachronistic return, as well as the desert, as a pre-figure of the place where Bolaño, in his last novel postuma (2666), caused the horror of a whole century: Santa Teresa, re-registration of Ciudad Juárez and its unstoppable femicide.