68 pages • 2-hour read
Álvaro Enrigue, Transl. Natasha WimmerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Content Warning: This section of the guide contains discussion of graphic violence, sexual violence, sexual content, substance use, illness, and death.
On the afternoon of November 8, 1519, Moctezuma keeps to his regular post-meal routine. A serving girl presents him with a paste of psychedelic mushrooms mixed with honey, which he eats before sitting in the sun until drowsy, then retreating to his bedchamber to sleep beneath a feather blanket.
The silence his nap requires extends throughout the entire palace. When he wakes and rings a royal bell, summoning his newest attendant, the sound travels outward in cascading waves: It rouses the palace staff, then temple priests, who respond by beating drums. The drums wake birds and dogs, then the noble households surrounding the palace, the chinampas that supply them, the children in the floating neighborhoods, and their families. The sound reaches the cookfires and causeway traffic, the gatekeepers at the city’s entrances, soldiers posted in mountain fortifications, and finally the empire’s enemies. For many months, the emperor has usually fallen back asleep immediately after performing this ritual.
That same afternoon, Jerónimo de Aguilar is smoking a rough Maya pipe in his quarters when Captain Jazmín Caldera appears and quips that he would like to be in clean clothes if he ends up being sacrificed. Aguilar calmly corrects him: Victims go to the sacrificial stone nearly naked, so laundered clothing is beside the point. Caldera asks Aguilar to have Malinalli teach him the Nahuatl phrase for getting his clothes washed; Aguilar notes that Malinalli is presently occupied with Cortés, and Caldera reads the remark as a warning—their status as guests or prisoners remains uncertain. Aguilar instructs him to leave his dirty clothing on the floor and wear the local dress to avoid Cortés’s and Alvarado’s notice.
None of the captains are professional soldiers; their rank reflects how much money or supplies each contributed to the expedition. Caldera despises Pedro de Alvarado, Cortés’s second-in-command, and believes that the only reason Alvarado has not killed him is that he shares Alvarado’s interest in classical literature.
In his own quarters, Caldera examines the comfortable bed, the fresh mantles and breechcloths, and braziers in the corners—candles, like hinges, are unknown here. He recalls his first view of the Valley of Anáhuac as the finest thing he has ever experienced. He carries his sword to the bath for protection, drops it at the pool’s edge, and enters.
Swimming among densely perfumed floating flowers, Caldera is joined by Aguilar. Caldera notices a butterfly tattooed on Aguilar’s genitals; Aguilar remarks that the design becomes an eagle when he is aroused, then enters the water. Floating on his back, Caldera reflects that the rectangle of sky above the pool would be his final view if he were taken to the sacrificial stone.
His thoughts move back over the campaign’s history. The expedition originally set out to procure enslaved workers for Caribbean plantations. After Aguilar and Malinalli joined on the Gulf Coast, Cortés—backed by most of the captains—converted the mission into a settlement expedition, established the settlement of Vera Cruz, and wrote directly to King Charles to legitimize his own command. The campaign proceeded through improvisation and military successes, drawing an expanding army of Indigenous nations hostile to Mexica rule. Throughout, Moctezuma sent lavish gifts alongside messages of discouragement—claims of contagion, insufficient food, the capital’s unworthiness. Aguilar and Malinalli consistently interpreted these as standard Colhua diplomatic courtesy: elaborate self-deprecation concealing a sincere welcome. Cortés exploited the ambiguity until the expedition ended up inside Tenochtitlan itself. By then, they had all come to believe their own fabrications.
Now Caldera wonders whether Moctezuma has lured them into a trap, noting that the causeways into the city have movable sections capable of blocking his Tlaxcalteca allies from entering.
Shouting and running feet interrupt him. Eight scarred Spanish soldiers pour into the courtyard and launch themselves into the pool with maximum noise. Aguilar watches them and tells Caldera they are fools. Caldera, watching them splash, already regards his companions as a group of ghosts.
Returning from a bath, Cortés finds Malinalli on the floor drying her hair and reading from one of his books. He asks whether she can now read Castilian; she replies that she will soon be able to. Cortés stares at her as though she has become a stranger and asks how long she has understood what the Spanish say. She admits her comprehension is still limited but reports something he needs to know: When Atotoxtli, Moctezuma’s sister and wife, stormed out of the recent shared meal, one of the attending priests indicated a wall and warned that it had eyes.
Cortés dismisses the warning, arguing that all nine captains were present and saw nothing suspicious. Malinalli says she, too, saw nothing but reminds him that priests perceive things others cannot. Cortés counters that if these priests failed to notice her growing command of Castilian, their perception is imperfect. He dresses, mentions that his hip is in pain from waiting on horseback for Moctezuma, and orders Malinalli to keep her knowledge of Castilian concealed from Aguilar. She bows her head in silent agreement.
After the group’s bath, Caldera wakes Aguilar from a nap and asks for a lesson in dressing in Mexica garments before the other captains stir. Aguilar demonstrates how to wrap the maxtlatl, an exceptionally fine, long cotton breechcloth, winding it around the body and finishing with a knotted fringe. Caldera strips and replicates the steps under Aguilar’s impatient guidance.
When he looks down at the result, Caldera is dismayed: Pale where his shirt had covered him, hairy, and bowlegged from years in the saddle, his body is a poor match for the garment. Aguilar, by contrast, is muscular, deeply tanned, and tattooed, and has shaved his chest and abdomen in keeping with local custom.
Aguilar then explains the mantle’s social codes. The yellow cotton mantle Caldera has chosen, embroidered with vegetable motifs, must be tied at the neck, as warriors and young nobles wear it during military training; officials tie it under the left shoulder, priests under the right. Once Caldera has his on, he finds that he looks considerably better he expected to. Aguilar tells him the mantle is fine Totonac workmanship but adds that garments offered to a true equal would be embroidered with feathers rather than thread.
Caldera slides on the sandals—hide inner sole, rubber beneath—and marvels at how comfortable they are. The lace ends in a small carved jade serpent’s head, which he says the fictional knight Amadís de Gaula—titular hero of a popular chivalric romance published in 1508—would have coveted. Aguilar tells him Amadís de Gaula never existed. Caldera insists, in a low voice, that the character must have been real because he read about him in a book. Aguilar laughs and gestures broadly at the room, the palace, and everything around them: When someone eventually puts what is happening to them now into a book, he says, readers will assume it is nothing more than invented chivalric fantasy.
Moctezuma wakes and briefly considers the duties piling up: hearing petitions, meeting with calpulli leaders to address the nervousness among Mexica leadership following the Texcoco uprising, and reviewing military deployments. He promptly abandons this intention. Resuming formal audiences would draw yet another Council emissary pressing him about the Cholula incident, and appearing publicly requires full ceremonial dress, a headdress, jewels, and blood offerings.
He decides to stay in bed and smoke. The one person he genuinely wants to see is Atotoxtli, his sister and wife. He rings the small silver bell to call his newest Little Cousin—a young woman, related to him by blood, who acts as his servant—and instructs her to bring Atotoxtli once she has woken from her own nap, but and only after she has had a chance to smoke, since he cannot stand her when she is in a difficult mood.
These middle chapters dismantle the myth of European destiny, reinforcing the theme of The Contingency of Historical Events. As Captain Jazmín Caldera floats in the palace pool, he reflects on the chaotic, improvised origins of the Spanish expedition. Rather than a preordained imperial conquest guided by divine right or superior strategy, the campaign began as a modest mission to procure enslaved workers for Caribbean plantations. It only morphed into a settlement enterprise at Vera Cruz to legitimize Hernán Cortés’s direct communication with King Charles. Caldera acknowledges that their precarious arrival in Tenochtitlan was propelled largely by the Spaniards’ self-serving misinterpretation of Moctezuma’s ambiguous diplomatic gifts as sincere invitations. This underlying fragility is further highlighted when Jerónimo de Aguilar jokes that future generations will read about their unlikely circumstances and assume “it’s more chivalric romance bullshit” (91). This metafictional gesture—the characters in this novel comparing themselves to characters in another work of fiction—embraces the novel’s status as a work of historical fiction that challenges the notion of inevitable conquest. The expedition emerges not as an unstoppable force of a technologically advanced civilization, but as a highly contingent gamble heavily reliant on chance, bluffing, and retrospective mythmaking.
The fragility of authority extends to the Mexica leadership, illustrating the theme of Political Power as Theatrical Performance. Moctezuma’s rule depends on the collective faith of the complex society around him. The layers of ritual that surround his every gesture serve to reinforce that faith, a dynamic demonstrated when the muted chime of his royal bell cascades outward to wake the palace, the floating chinampa neighborhoods, and eventually the empire’s distant mountain fortifications. This sonic ritual demonstrates the reach of imperial power, creating a synchronized awakening that extends from his bedchamber to the empire’s geographical margins. The narrative maps the sound’s progression meticulously: It rouses palace staff, then temple priests who beat drums in response, then birds and dogs, then noble households, the chinampas supplying them, children in the floating neighborhoods, families at cookfires, causeway gatekeepers, soldiers in mountain fortifications, and finally the empire’s enemies. This cascading sequence transforms a single gesture into an empire-wide assertion of presence and control.
However, Moctezuma’s power is simultaneously undermined by his self-imposed isolation. After consuming a paste of “magic mushrooms and honey” (75), the emperor actively avoids the ritualized duties of his position. He deliberately stays in bed to smoke rather than donning ceremonial dress to hear petitions or face the Council emissaries regarding the recent massacre in Cholula. By refusing to engage in the necessary political theater, Moctezuma neglects the visual performance of statecraft. In the context of a fraying Triple Alliance and widespread nervousness over the Texcoco rebellion, his withdrawal from the public stage creates a perilous vacuum. To remain stable, his authority must be continuously and visibly enacted. The contrast between the bell’s empire-spanning reach and Moctezuma’s bedroom confinement captures the paradox at the heart of his rule: Ceremonial power persists through routine, yet the emperor himself has abandoned the ceremonies that sustain it. Recognizing that his rule is becoming precarious, he becomes more violent in enforcing his authority—for example, by sentencing his cousin, Xochitl, to death for questioning him.
As the structures of traditional power waver, control over language emerges as an alternative form of power, deepening the theme of The Slippery Nature of Translation and Communication. In a pivotal exchange, Malinalli reveals to Cortés that she is secretly learning Castilian by studying one of his books. Cortés orders Malinalli to conceal her Castilian from Aguilar. This directive fundamentally alters the balance of power within the Spanish camp. By gaining the ability to bypass the established translation chain, Malinalli transforms from a captive intermediary into an indispensable, autonomous intelligence gatherer. Her secret knowledge grants her significant agency despite her enslaved status. The transformation of words and names across language barriers signals the relationship between language and power. Malinalli has been given the name Marina by her Spanish enslavers, but she makes it her own by “mispronouncing” it as Malina. The diminutive Malinalli signals the Mexica people’s love for her. In their eyes, Cortés himself becomes el Malinche—relegated to the status of Malinalli’s companion. Malinalli’s linguistic skill is an instrument of leverage that allows her to quietly maneuver within a rigid hierarchy.
The collision of these two civilizations is ultimately registered on the physical bodies of the conquerors, subverting European superiority through the motif of ritual and protocol. When Caldera asks Aguilar to teach him how to wear a local breechcloth and mantle, the dressing process exposes the Spaniards’ vulnerability in a highly codified society. Aguilar explains the intricate social codes woven into the garments, noting that the positioning of a knot signifies a wearer’s specific rank as a warrior, priest, or noble. Stripped of his armor and dressed in local attire, Caldera is dismayed by his own physique, realizing that his pale, bowlegged body is a poor match for the elegant textiles. He stands in stark contrast to Aguilar, who has physically assimilated by shaving his torso and bearing a Maya tattoo that shifts from a butterfly to an eagle. Stripped of his armor, Caldera has none the mythic grandeur that will come to be associated with the conquistadores in popular histories. He is an awkward outsider, out of place and vulnerable. Aguilar further reminds Caldera that the garments he has been offered are merely embroidered with thread rather than feathers, marking him as something less than a true equal in Mexica eyes. This vulnerability, however, strips away Caldera’s illusions and allows him to see himself, his compatriots, and the city of Tenochtitlan more clearly. When Spanish soldiers loudly disrupt the tranquil, perfumed baths, Caldera already views his compatriots as “a pack of ghosts” (85). The sartorial transformation and the jarring presence of the soldiers emphasize the extreme precarity of the European position, reinforcing that their survival in the sophisticated capital remains an unlikely and tenuous illusion.



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