In thefirst part of this story, not surprisingly published in the volume Diario diValentina, Crepax retraces the most important stages in Valentina's life: fromthe first story, The Curve of Lesmo in 1965, to Pietro Giacomo Rogeri in 1973.The narrative inspiration is the one already used other times by the author,even if in a more episodic and less structured way. Driven by a real mania toretrace his steps and show new aspects of already closed stories, he invites anaked Valentina, lying on her bed like Little Nemo, to "speak freely, onlyabout reality or almost", revealing hidden truths , omitted details andunspeakable secrets. Innovative and never seen before in comics is thesituation of the author who questions and interacts with his character as if hewere his psychoanalyst. In this page, Valentina, thinking back to herhospitalization in The Force of Gravity, confesses that she actually liked theviolence suffered by the Undergrounds. And there is no shortage of graphicexperiments, as in the introductory drawing which is without outlines (becauseit displays the narrating protagonist, while the stories narrated are withincartoons) and describes Valentina from a very unusual angle.