The Dreamer

Much of this section is set in the forest, placing focus on the idea of nature. Neftalí’s appreciation of nature, and his respect for it, are portrayed as intrinsic characteristics that greatly influence his life and his writing, once more speaking to Inspiration, Influence, and Identity. When he collects the pinecone in Chapter 5, he doesn’t merely admire it—he thanks the tree it fell from for bestowing it.

The juxtaposition of the railroad next to the forest contributes to one of the story’s conflicts, nature versus development. Neftalí’s father is portrayed as valuing the work of the railroad, and development in general, over nature. Neftalí’s values are in opposition, creating a rift between him and his father.

Neftalí’s imagination continues to shape the events of the narrative, reflecting Daydreams and the Pursuit of Dreams. In the forest, a rhinoceros beetle grows to the size of a pony and Neftalí rides on its back. An illustration of the giant beetle with a man superimposed on it has the caption: “What lies beneath the bravado of a black and shiny armor?” (102-03), suggesting a symbolic connection between the beetle and Neftalí’s father.

In the forest, Father is portrayed through Neftalí’s eyes as “swaggering beneath the dark cape, with the confidence of someone who owned the forest” (100). The illustration’s hint that this swagger and confidence are merely bravado adds complexity to Father’s character. It suggests there might be fear and insecurity lurking beneath his armor of swaggering confidence, the kind of fear and insecurity any father might feel under the daunting charge of raising a child. All that’s apparent to Neftalí, however, are his father’s hurtful words and lack of affection.

Symbolism abounds in the forest. Neftalí wonders what the giant pine tree has seen from its highest branches, and whether it hides “all the secrets of the forest within its dark nooks” (107). This arboreal symbol of knowledge and wisdom emphasizes Neftalí’s curiosity, a trait which the author calls Pablo Neruda’s “spirit of inquiry” (355), and one which will come to define his writing.

The symbolism of the chucao bird is multi-faceted. Neftalí’s suspicion that the bird’s prediction for him was false challenges ideas of luck and fortune. A more important connection exists between the chucao bird and Neftalí’s future. When Neftalí sees it, he thinks, “Rodolfo was right. It was small but louder than anything he had heard in the forest” (113). Neftalí is small, thin, and physically weak, so his father thinks he’ll never make an impact on the world. Neftalí will learn, however, to elevate his voice through The Power of Words. He’ll see that, like the chucao bird, he can be small and still make himself heard.

Literary devices notable in these chapters include Muñoz Ryan’s use of metaphor and simile to describe elements of nature in the setting, like when Neftalí feels he’s “in a great domed cathedral—in a world without sky” (96-97) upon entering the forest. A literary allusion to Jules Verne’s Journey to the Center of the Earth characterizes Neftalí’s appreciation for classic literature and tales of adventure. The onomatopoeic calls of the Chucao bird: “chew—chew—chew—chew—cow” (111), and the words Neftalí murmurs to the trees, like “Rauli, Mapuche, Puma” (98), emphasize sound and rhythm.

A thematic emphasis on Inspiration, Influence, and Identity is maintained in these chapters. Being a successful railroad conductor is important to Father’s sense of self. In commenting to his crew that Neftalí naturally likes the ballast train work because, “After all, he is a railroader’s son” (105), he demonstrates pride in his son. He wants even bigger things for his son, though. His narrow view of what careers are part of an identity one can be proud of leads him to insist that Neftalí will become a doctor or dentist. At the age of eight, Neftalí recognizes he doesn’t yet know what he will become. His identity has not yet been defined, though his father seeks to put limits on its future shape.

How Neftalí and his older brother view their father’s identity significantly shapes the relationship between them. When the two talk, Rodolfo’s portrayal of Father is slightly different than what Neftalí experiences. Rodolfo says things will get worse as Neftalí gets older, meaning Father will become meaner and harder to please. The verbal abuse Neftalí experiences might turn to physical abuse, as it seems to have done with Rodolfo. Neftalí doesn’t fully accept Rodolfo’s views. He thinks his brother might be jealous that it’s Neftalí’s turn to take the trip into the forest with Father, or maybe just ungrateful. Neftalí still wants to believe he can earn his father’s kindness and affection.

Chapter 6 expands on Neftalí’s characterization. He likes Blanca, not only because she’s pretty, but because she’s kind. This shows Neftalí as someone who values kindness. His shyness leads to the development of an internal conflict in which he thinks there’s something wrong with him. He feels invisible, especially after his brother and the other boys ignore him, which he demonstrates by writing “I AM HERE” in the dirt (127). He copes with these feelings of loneliness and invisibility by retreating into his imagination. This is symbolized in this chapter by the hole in the fence being called a “porthole” (128), a metaphoric window through which he can connect to imagined realities. In providing The Toy Sheep, this porthole provides Neftalí with the thing he longed for most: a companion.