Sebastian Urrutia Lacroix, opens by announcing that he is dying and feels compelled to address slanderous rumors spread by a young person that have tarnished his noble reputation. He is determined to rectify the lies before his death. He introduces himself as a Chilean priest and recounts his encounter with Farewell, a celebrated literary critic. During a meeting in Farewell's library, Sebastian expresses his desire to follow in his footsteps and contribute to literature, but Farewell cautions him about the challenges of pursuing literary endeavors in a barbaric country like Chile.
Sebastian visits Farewell's estate, excited to meet intellectual minds and discuss literature. While walking through the estate, he stumbles upon a cabin where workers invite him in. They recognize him as a priest and seek his guidance. However, Sebastian's preoccupation with his appearance prevents him from engaging deeply with their concerns.
In the subsequent interactions, Sebastian navigates conversations about poets like Pablo Neruda and Sordello. During a night on the veranda, Farewell makes advances toward Sebastian, which confuse him and evoke a sense of disorientation. The presence of Pablo Neruda adds excitement to the gathering.
Lieutenant Tschanz, who infiltrates Gastmann's world as his chauffeur, providing valuable insights into Gastmann's connections and activities. Chapter 4 marks a turning point as Tschanz becomes more entangled in Gastmann's criminal affairs. Sebastian worries for Tschanz's safety and intervenes to protect him, displaying his willingness to put himself at risk.
Sebastian confronts Gastmann, seeking to expose his crimes and extract a confession. The confrontation is intellectually charged and tense, unraveling unexpected twists and revelations that shake both characters' beliefs.
The truth behind the murder and exposes corruption within Bern's town. Bärlach's unwavering pursuit of justice reveals the manipulation within respected institutions. Through intricate character development and morally complex situations, the novel delves into the depths of human morality, justice, and personal responsibility, compelling readers to contemplate the blurred lines between right and wrong.
Don Salvador coincidentally encounters Junger at the Guatemalan artist's house, where Junger admires a painting titled "Landscape: Mexico City an hour before dawn." The painting, influenced by surrealism, captures the destitution of Mexico City. Junger and Don Salvador engage in discussions about German art and the inspiration behind the painting. Their conversation extends to topics like war, peace, evil, and even Chile's flora and fauna.
Junger's interest in the artist's work is juxtaposed with his concern for the artist's whereabouts. Don Salvador fears the artist mayhave been arrested by the Gestapo. They find the artist staring out of his window, disinterested in the food and books Don Salvador brings. Junger and Don Salvador later bond over literature, and Don Salvador shares a book with Junger.
After meeting Don Salvador, Urrutia and Farewell search for a restaurant. Urrutia shares his idea for a poem inspired by Don Salvador's encounter with Junger. Farewell reflects on love and impressionability, which leads to Farewell telling a story about a shoemaker who undertook a monumental project known as Heroes' Hill. The story symbolizes the passage of time and the fleeting nature of achievements.
As they discuss, Farewell's mood turns somber, and he predicts changes in America and Chile, including Neruda winning the Nobel Prize. Farewell propositions Urrutia for sex, but he declines. The conversation shifts to Urrutia's seminary days, and they discuss various popes and their stories. The evening ends with their departure, and Urrutia walks through the streets, lost in thought about the stories he's heard and the voices of Chile's writers calling out to him.
Sebastian Urrutia Lacroix, the narrator, begins by revealing his affiliation with Opus Dei, a secret Catholic order with political influence. He claims to have amassed significant literary power over the years, even though he can hear the "wizened youth" accusing him of aligning with the dictatorship. Urrutia responds by mentioning that he praised even the poets of the Chilean Communist Party.
During this period, Urrutia grapples with profound boredom, writing and destroying poems frustratingly and producing lackluster book reviews. He stops giving mass, and despite receiving visits from fellow priests and poets, he has little to say to them. Urrutia takes walks through the city and is mugged once, dismayed by the changing city.
He meets Mr. Raef, recommended by fellow priests to help lift his spirits. Raef introduces Urrutia to Mr. Etah, who offers him a job researching European church preservation for the Archepiscopal College. Urrutia is excited about the opportunity and embarks on his journey, sailing to Europe on an Italian ship. He recites poetry, says mass, and rekindles his literary passion during the voyage.
In Italy, Urrutia visits the church of St. Mary of Perpetual Suffering, where he meets Father Pietro, who employs falcons to combat pigeons damaging the church. Urrutia learns that other priests in different countries also use falcons for the same purpose. In Spain, he visits Opus Dei brothers and encounters FatherAntonio, an old priest who questions the ethics of killing pigeons.
Urrutia realizes Father Antonio's deteriorating health and the falcon's plight. He calls a doctor for the priest, takes the falcon to the bell tower, and releases it. The falcon kills pigeons and leaves them at Urrutia's feet before flying away. Despite the doctor's arrival, Father Antonio dies that night, and no one inquires about the falcon's fate.
After Father Antonio's death, Urrutia continues his journey, visiting different countries like Spain, France, Greece, and Rome. He reflects on his dreams, including one where Father Antonio raises and warns him, "It's wrong, my friend, it's wrong." Urrutia's return to Chile coincides with the rise of Salvador Allende, who brings left-wing policies and chaos to the country.
Urrutia immerses himself in reading Greek classics and observes the political turmoil in Chile, including Castro's visit, marches, and Allende's reforms. He describes the eventual coup and Allende's suicide. Amid this turmoil, Urrutia feels detached, as if living in a dream world where everything is moving at a different pace.
Neruda's death is a blow, and Urrutia and Farewell attend his funeral, though it is somber and Farewell is disappointed not to speak. Urrutia returns to writing poetry, but it takes a darker turn, exploring disturbing themes.
Mr. Raef and Mr. Etah approach Urrutia for a secret mission involving teaching communism to General Pinochet and his commanders. Urrutia agrees and prepares for the task, eventually engaging in lessons on Marxism. He recollects an interaction with Pinochet where they discuss Chile's former rulers and intellectuals. Urrutia later shares this secret with Farewell, who questions whether he had a choice in the matter, to which Urrutia responds that it was necessary.
Urrutia's journey is marked by political shifts, personal introspection, and his involvement in clandestine matters that force him to question his choices.
Urrutia discovers that rumors are circulating about him teaching Marxism to the Junta, and he's frustrated that Farewell might have leaked such confidential information. However, Urrutia doesn't face any repercussions; neither the military nor the church seem to care. He reflects on those years when people simply tried to live their lives despite the political turmoil. He considers himself committed to rational thinking, yet acknowledges the distant presence of the "wizened youth," a nagging conscience.
During Pinochet's rule, Urrutia continues writing and traveling. He witnesses Chile's cultural decline due to television's influence, and he longs for a return to intellectualengagement. He meets Maria Canales, a mediocre writer who hosts parties attended by Santiago's literati. Urrutia observes Maria's troubled son, Sebastian, and laments the state of contemporary Chilean literature.
Urrutia and Maria engage in literary debates, including discussions
about feminist novelists. Despite his initial reluctance, Urrutia continues visiting Maria's house after Farewell's decline, attending parties where writers gather amidst the political unrest. Maria's parties remain untouched by authorities despite the turmoil.
In a dream, Urrutia encounters Father Antonio, who leads him to a tree symbolizing Chile's current state as a "Judas Tree." Urrutia attends one last party at Maria's house before learning that her husband, Jimmy Thompson, had been running an interrogation room for prisoners in their basement during Pinochet's regime. Urrutia is disturbed by the hypocrisy of writers and artists who remained silent.
Years later, Urrutia visits Maria again, finding her life in ruins due to revelations about the torture in her basement. He recalls Farewell's funeral, his interactions with working-class men, and his realization that the "wizened youth" represents his own conscience. The novel ends with Urrutia's introspective contemplation of his relationships, actions, and the storm of consequences that ensue.