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Content Warning: This book contains depictions of sexual assault and sexual exploitation. Additionally, the source material contains racism, colorism, graphic violence, and gore.
The novel begins in November 1823 at Hacienda San Isidro. Padre Andrés watches as Beatriz leaves the hacienda. He contemplates how God does not understand true love because the doctrine of the Trinity means that God never experiences loneliness. Andrés kneels in the road, realizing that after experiencing the haunting of San Isidro, the only thing that succeeded in breaking him was losing Beatriz.
This chapter takes place in September 1823, two months earlier. Beatriz arrives at Hacienda San Isidro with her new husband, Rodolfo.
Rodolfo introduces Beatriz to the servants of San Isidro, including José Mendoza, the foreman, Ana Luisa, the housekeeper, and Ana Luisa’s daughter, Paloma. As Rodolfo introduces the servants, a woman introduces herself as Rodolfo’s sister Juana. This surprises Beatriz because Rodolfo never mentioned that he had a sister. Beatriz notices tension between Juana and Rodolfo, but Juana assures Beatriz that she lives in the servant’s quarters, so Beatriz will have the main house to herself.
Beatriz starts to enter the house but hears a voice telling her to “get back.” Despite her sudden fear and apprehension, Beatriz walks up the steps leading to the front door. She jumps back when she sees a dead rat on one of the steps, which Juana tells her one of the cats killed.
Rodolfo gives Beatriz a tour of the house. He tells her that the northern wing is under repair, so she should stay away from it. He takes her into the dining room and tells her that she should never go up on the room’s ledge because a maid fell from there once. Beatriz hears the dining room laugh at her. Rodolfo does not react to the laughter, so Beatriz assumes she misheard it.
Beatriz has a flashback to seven months earlier when her father died. She remembers waking up to the house on fire and watching military officials drag her father away into the night. She grabbed her father’s military map before escaping with her mother. Later, Beatriz learned that insurgents deposed Agustín de Iturbide, Emperor of the newly independent Mexico, and his supporters were executed, her father one of them. Beatriz and her mother had to move in with Tía Fernanda, who discriminated against Beatriz because of her skin color. Because she was a woman, Beatriz could not inherit her father’s property or work for a living, so when she met Rodolfo, she took the opportunity to marry a rich man and escape her situation. However, Rodolfo was involved with the man who ordered her father’s death, so her mother refused to speak with her after she married him, even when she moved to San Isidro.
On Sunday, Rodolfo takes Beatriz to the town of Apan for mass. Rodolfo explains that he will introduce Beatriz to the other families that own haciendas, also known as the hacendados.
When they enter the church, Beatriz is aware of how the power dynamics shift. The people of Apan treat her with respect because she is the wealthiest estate owner’s wife. After mass, Beatriz meets the hacendados. One of the wives, Doña María José Moreno, comments that Beatriz is almost as beautiful as Rodolfo’s first wife, Doña María Catalina, although Beatriz is “quite darker.” Doña María José hopes that Beatriz will adapt to the country better than Doña María Catalina who was delicate and fragile. The mention of Rodolfo’s late wife and Doña María José’s blatant racism horrify Beatriz, and she has trouble focusing on anything else the hacendados say to her.
That night, Beatriz misses her parents and the life they once had together. She wishes that she had the type of love that her parents had. Beatriz sees a reflection of two red eyes behind her in the mirror. Even though they are gone almost instantly, Beatriz has the uncanny feeling that someone is watching her. She believes that the eyes are from one of the cats that Juana mentioned, but then realizes that she has not seen a single cat since she arrived at San Isidro.
This chapter takes place in December 1820, three years earlier.
Andrés returns to Apan after seven years of studying at a seminary in Guadalajara. At the church, Padre Guillermo, Padre Vicente, and Andrés prepare for a feast day. Andrés sees Padre Vicente greeting the hacendados. He recognizes Don Rodolfo, the son of old Solórzano, the patrón of San Isidro. Next to him is his new Criolla wife, Doña María Catalina. Andrés overhears Rodolfo asking Padre Guillermo to watch over his wife while he is gone because he has aligned with the insurgents, and he is afraid she will not be popular with the other hacendados. Andrés hopes that this means that Rodolfo is different than his father and that his family at San Isidro will be treated better than when Old Solórzano was alive.
Andrés examines Doña María Catalina. He notices how she looks at the townspeople as if she sees through them. When the war ends, he believes Rodolfo will take his Criolla wife back to the capital and leave San Isidro.
The narrative returns to the present day as Rodolfo leaves for the capital. Beatriz reminds him to deliver her letters to her mother. After he leaves, Beatriz unpacks and pins her father’s map to the wall in the study.
Beatriz finds a ladder at the edge of the garden that gives her a view of the maguey (agave) fields. She notices Juana walking in the fields. Even though she knows Juana dislikes her, Beatriz understands why Juana feels threatened by her arrival. Juana has the privilege of not having to marry for money—Rodolfo allows her to live at the hacienda if she oversees the harvesting. A voice suddenly startles Beatriz, whispering, “Juana, Juana.” Beatriz turns around but there is no one there. One of the ladder rungs suddenly breaks under Beatriz’s weight. She grabs the wall before she falls too far and then drops down to the ground unharmed.
Beatriz tries to befriend Juana that night. She takes Juana to her room to show her the blue silk she brought to decorate the house. Yet, when Beatriz opens her chest where she keeps her silks, she finds them soaked in blood.
Juana takes Beatriz to the kitchen to clean the blood off her hands. Beatriz smells copal, a type of tree resin burned as incense, when she enters the kitchen. Juana pours cold water over Beatriz’s hands, but they see that her hands no longer have bloodstains on them.
At dinner, Beatriz asks about María Catalina and realizes from Juana’s responses that she did not like María. When Beatriz goes up to her bedroom that night, she hears child-like laughter coming from the darkness and feels hands pushing her. She accidentally extinguishes her candle, and darkness surrounds her. She lights the candle again and sees the darkness retreat from her as if it is alive.
These chapters introduce the novel’s setting of San Isidro and the main characters. The first chapter acts as a prologue that flashes forward to the end of the novel when Beatriz leaves Andrés at the hacienda. When the narration jumps back in time to two months earlier, the tone is light and hopeful as Beatriz looks forward to her freedom at San Isidro. This juxtaposition creates narrative tension, making the reader wonder what happens in those two months to make Beatriz leave. The historical setting of the aftermath of the Mexican War of Independence highlights the uncertainty that Beatriz feels. After years of war and her father’s death, Beatriz hopes that she will find comfort in her new home.
Cañas introduces the theme of The Trauma of Colonial Power because of Beatriz’s insecurity about her skin color. Even though Mexico is free from colonial rule, the white supremacist mentality introduced by colonialism has pervaded Mexican society. Cañas shows how racism has traumatized Beatriz by using flashbacks about Tía Fernanda, who would not let Beatriz “stand next to her cream-pale daughters at the ball” (8). She realizes she will never escape this discrimination, however, when Doña María José tells her that she is “nearly as lovely as Doña María Catalina, though quite darker” (27). This constant racism and dehumanization torment Beatriz, as she longs to find love with “someone who saw [her] not as darker than someone else, nor not quite as lovely as someone else” (29). She longs to be seen for who she is. However, she also knows that she can never have her parents’ love because she married Rodolfo. Beatriz chose comfort over love, so she “sacrificed that dream because survival was more important than being lonely” (30). Beatriz’s limited options showcase this society’s gender inequality—marriage is the only way for her to change her circumstances. This is reinforced by Juana’s situation, in which her brother ultimately controls her life.
Beatriz’s flashback to the night her father died shows how the war continues to affect Mexico. Her decision to save her father’s map from the fire signifies how she tries to hold on to control and safety amid chaos and war. She treasures her father’s map because it symbolizes the life that she once had, as well as the truth that her father was not a traitor.
This section sets up the theme of The Importance of Honoring Cultural Identity. In Chapter 5, the flashback from Andrés’s perspective shows how conflicted he is in his cultural identity. When he sees Rodolfo with his new wife, María Catalina, he hopes that Rodolfo’s politics will ally him with Andrés. However, Andrés notices the way that María looks at the villagers. Andrés sees that “those were eyes that did not see faces that were not peninsular or criollo” (40), meaning Spanish people born in Spain (Peninsular) or Mexico (Criollo). This foreshadows tension between María Catalina and Andrés in the rest of the novel. Additionally, it sets up María Catalina and Beatriz as foils; where Beatriz suffers from racism, María Catalina perpetuates it.
At the end of this section, the supernatural aspects of the house become more prevalent, which introduces the theme of The Existence of the Supernatural. After Rodolfo leaves, Beatriz begins to hear more voices and laughter in the house, which correlates with Beatriz’s flashbacks. The fact that Juana and Beatriz see Beatriz’s silks soaked in blood signifies the threat of the house’s horrors on Beatriz’s life. This also foreshadows how the haunting will force Beatriz to examine her past.



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