This paper analyzes Edgardo Rodríguez Juliá's El entierro de Cortijo and Alberto Salcedo Ramos's La eterna parranda taking into account the techniques they use to lower the author-ity of the writer-narrator which was central in the bourgeois novel, to abase scholar knowledge, and to evade “representation”. Thus, this essay proposes that Rodríguez Juliá and Salcedo Ramos “present” (speak about) and register (allow someone to speak) subaltern voices and use non-scholarly commentary in order to account for subaltern interests and fill the public space of their nations with those voices once obliterated.