What is it about them, about vacations, that brings us closer to ourselves? What is it about the exotic, about the foreign sun, that illuminates and awakens the inner, primal part of us, the pure will? What is it about removing the watch from the wrist that erases the color blindness through which we observe everyday life, that relaxes the muscles in the back of the neck and allows us to turn our heads left and right? The moment Sergio Bisio takes his heroes – a man and a woman – on a liberating vacation at a resort on the shore of an island on the front page, we know that something is about to happen: What happens is that the moment Carlos, the partner, awakens his inner and primal feelings, and honestly observes his feelings and his life, he discovers that he does not love his partner. But the revelation comes just one day after the wedding, a minute before they jump into the waters of everyday life. The no less than perfect opening of "Ten Days at Bara" is the introduction to a real literary delicacy, deeply rooted in the descriptions of the vacations of contemporary life. A world premiere for a fresh work, which seems to have been originally written in Hebrew. When the surrealist disguises himself as perfect realism. Bisio forces the reader to stop lying to himself" Guy Finkelstein, writer "No one makes the text flow naturally from word to word like Bisio" Yohai Järfi, blogger "Bisio doesn't try to show how good he is: he's just good" Ira Yosef, Hebrew teacher "Bisio leaves no option for regular breathing. From the first moment, his texts lead the reader on a path that is all a mix of passion and rage and an outlet for claustrophobia that slowly closes in on him. Because Bisio manages to sell the reader to these four deceptive walls, and to extract from him complete identification with the place where madness gains courage. "Bisiou has the courage." Ayelet Mohar, editor