The article confronts two ways of organizing the memory of Spanish Transition: one represented by Javier Cercas (Anatomía de un instante, El impostor), who turns to a novel without fiction, and the other proposed by Jordi Évole in Operación Palace, which is a fake documentary. The analysis allows to detect the great thematic axes of the memory of Transition, especially that of consensus, and go deeper into its potential subversive load.
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