Rooftop

Byobu reveals a rich inner world, one driven by its meticulous attention to our rich outer one.
"a story’s existence, even if not well defined or well assigned, even if only in its formative stage, just barely latent, emits vague but urgent emanations."Byobu's every interaction trembles with possibility and faint menace. A crack in the walls of his house, marring it forever, means he must burn it down. A stoplight asks what the value of obedience is, what hopefulness it contains, and what insensible anarchy it defies. In brief episodes, aphorisms, and moments of spiritual turbulence and gentle scrutiny, reside a wealth of habits, worries, curiosities, pleasures, peculiarities, and efforts to understand.Representative of the modesty and complexity of Ida Vitale’s poetic universe, Byobu flushes the world with meaning and playfully offers another way of inhabiting the every day.
In a rundown apartment building, in an unnamed city in Uruguay, a father and daughter close themselves off from the world. ‘The world is this house’, says Clara, and the rooftop becomes their last recess of freedom. A pet canary is their only witness. As Clara’s connection to the outside is stripped away—the neighbor who stops coming by, the lover whose existence is only known by a pregnancy—desperation and paranoia take hold. It's a stifling embrace, and we are there with her, our narrator, dreading what we know the future holds.
We begin where we end: what happened in this rundown apartment, closed off from the world?