In his historical novel, Fuentes crafts a vivid tapestry of intriguing characters that leap from the page, rich with complexity and depth. His protagonists are not mere mouthpieces for their ideologies; they are full-bodied figures, far from symbolic avatars. At the heart of the narrative stands Baltasar Bustos, initially portrayed as a bespectacled, rotund clerk laboring in the Superior Court of the Viceroyalty of Rio de la Plata. His nearsightedness is emblematic, suggesting a world view yet to be broadened. The presiding judge, the Marquis de Cabra, is wedded to Bustos' cherished Ofelia. In a quest to test his convictions and win Ofelia's admiration, Bustos, despite his physical shortcomings, enlists in the independence wars. These trials transform him so completely that the gauchos on his father's expansive estate barely recognize him, for he has become as lean and rugged as any seasoned soldier. His ardor for Ofelia propels him from the vast Argentine plains to every major battlefield across the southern continent. Yet, the only glimpse he has had of his beloved is her bare back and buttocks and the side of her face.

Among Bustos' confidants, Varelo, the printer, plays a pivotal role. Unlike Bustos, Varelo remains in Buenos Aires, tending to his thriving publishing enterprise. Xavier, their philosophically inclined friend, contentedly observes the unfolding chaos from his estate, his vision colored by Voltaire's aristocratic ideals. Both men hold an affectionate regard for Bustos, though their admiration is tinged with a gentle indulgence. As the storyteller, Varelo imbues the novel with its unique tone. Though both men support the cause of independence, neither chooses to take up arms. Drawing inspiration from Diderot, Varelo perceives that the combatants are blind to the ever-shifting landscape of their struggle, rendering them incapable of fully comprehending the war's events. His perspective is one of patient indulgence, akin to his view of Bustos.

Ofelia Salamanca, having retained her maiden name even after marrying the Marquis, remains an elusive presence, glimpsed only fleetingly. A trailblazer in the realm of women's rights, she is keenly aware that her advocacy is overlooked by the men in her life. Her mystique transforms her into the subject of enduring folk songs, even featuring in the corridas of Mexico, where she and Baltasar finally meet. By then, she is gravely ill, her legendary beauty tragically diminished.

Ofelia's spouse, the Marquis de Cabra, epitomizes cynicism and detachment. While in Chile, he elaborates on his worldview, asserting that true justice is an unattainable dream. To him, corruption is not an anomaly but a certainty, driven by inherent human self-interest. He is an elderly man, much like Jose Antonio Bustos, Baltasar's father. The relationship between father and son is fraught with tension, though Baltasar's position at the Supreme Court and the time to pursue his ideals are owed to his father's powerful influence and wealth.

Amidst the ranks of San Martin's triumphant army in Chile, Bustos encounters the great liberator himself. Fuentes presents Jose de San Martin as a visionary, foreseeing that unchecked military power in future governments could lead to endless juntas, unraveling any stability the nations might achieve. Although revered as Argentina's most celebrated hero, San Martin's insights are often sidelined. Bustos plays a part in the victorious battle of Chacabuco, a pivotal event that liberated Chile, Bolivia, and Peru from the grip of Spanish colonization.

In Veracruz, Mexico, Bustos crosses paths with Anselmo Quintana, a defrocked priest turned independence fighter who offers a philosophic lens through which to view his wartime experiences. While no longer a priest, Quintana remains a fervent believer in his personalized vision of Christianity, providing a...