The Dreamer

José Reyes is Neftalí’s father and is most often referred to by the familial nickname, Father. Given that Neftalí’s main conflicts relate to his relationship with his father, José aka Father is the story’s antagonist. Several characterization techniques reveal his complexity. Subtext suggests he’s harder on his older son Rodolfo than on Neftalí. At times he can be kind and fun, though his sons’ inability to predict his moods causes them constant anxiety.

Father’s explanation of his own suffering as a young man trying to find work adds layers to the presentation of his actions. He insists his sons pursue certain careers because he believes it’s what is best for them. The narrator does not overtly pass judgment on his approach, in which he demeans Neftalí’s interests and calls him names in front of others. Instead, Muñoz Ryan allows the harmful effects on Neftalí to speak for themselves.

Father is characterized as a prideful man by his reactions to Neftalí around coworkers and dinner guests. He is easily embarrassed by his son and responds by minimizing Neftalí. His habitual actions show how much he values physical strength. Most of Father’s interactions with Neftalí revolve around his authoritarian efforts to make Neftalí stronger, such as making him swim in the ocean and play sports with the other boys. In the forest scenes, he swaggers and seems to Neftalí to have the confidence of someone who owns his surroundings. An illustration from the same chapter suggests this is bravado, and that insecurity lurks beneath the surface.

Despite his complexity, Father does not undergo significant change or transformation within the span of the narrative, making him a static character. He is just as harsh and controlling toward Neftalí in the final chapter as in the first one. Father’s character creates opposition to Neftalí developing a healthy sense of self and pursuing his passions. The narrative’s tone suggests facing this opposition strengthens Neftalí and teaches him that, with determination, he can achieve his dreams.

Rodolfo Reyes is Neftalí’s older brother. His role in the story is twofold: providing love and support to Neftalí and demonstrating the detrimental effects of Father’s parenting style. He talks to Neftalí about being miserable at home because of their father and warns Neftalí that Father’s abusive treatment will only get worse as Neftalí gets older. Rodolfo’s fate epitomizes what might happen to Neftalí if he doesn’t overcome his father’s control. Rodolfo does not get to pursue his passion, to sing and study music. Instead, he follows the path Father insists on and becomes a businessperson.

Ironically, though Rodolfo is the model of strength Father holds Neftalí against, this doesn’t earn him better treatment from Father. Apart from his physical strength, his love of music, and his resentment of Father, little is shared about Rodolfo. His character is not complex and does not undergo major change. The scene in which Rodolfo helps convince Father to let Neftalí work at the newspaper offers a glimmer of hope that Rodolfo will learn to stand up to his father, but otherwise his fate falls outside the scope of the story’s resolution.

Laurita Reyes is Neftalí’s younger sister. Though the context of Neftalí’s mother dying two months after his birth indicates Laurita is his half sister, this fact is not addressed or given relevance in the narrative. Laurita is characterized through the eyes of Neftalí, who admires her cheerfulness. In some ways, Laurita’s character can be seen as that of a generic younger sister. She doesn’t demonstrate the depth or complexity of a character at the center of a major conflict within the story. Her function relates to her relationship with Neftalí, which does evolve.

In the book’s earliest chapters, Laurita acts as Neftalí’s “ambassador at the window” (18), describing to Neftalí what she sees in the world outside when he’s confined to bed. When the two travel to Puerto Saavedra without Rodolfo, their dynamic shifts. Neftalí becomes protective of Laurita. She becomes his confidante, helping cover for him when he comes home late and caring for the injured swan with him. Neftalí says of Laurita, “she would not betray me on purpose” (198). This assessment, as well as Laurita’s own action in these chapters, characterizes her as loyal and nurturing.

By the time Neftalí is getting ready to leave home for college, their dynamic has again matured. Laurita is motherly toward Neftalí, giving him advice and encouragement. She is a source of love and inspiration for Neftalí, helping to mitigate the effects of Father’s meanness.

Mamadre is Neftalí’s stepmother. Like Neftalí and his siblings, Mamadre seems to feel pressure to obey Father. Her thoughts and emotions are not revealed directly, but she is shown at various times submitting to Father’s commands regarding the children. The effect this has on Mamadre and her life is not made known to the reader. The deftness with which she manages to appease Father and still show unconditional love and support to the children characterizes her as a source of inspiration for Neftalí.

In the first chapter, Mamadre tells Neftalí, “I am small, and many say much too thin. I may not appear big and strong on the outside, but I am perfectly capable on the inside…just like you” (13). These words validate Neftalí’s worth and help him recognize his inner strengths. Apart from loving Neftalí unconditionally, Mamadre influences Neftalí’s life by teaching him to read before he starts school, and reading stories to him in which he can immerse himself and forget his troubles. His ongoing love of The Power of Words was first nurtured by her.

Orlando is Neftalí’s uncle. As a kind and loving man who supports Neftalí’s interests, Orlando serves as a contrast to Father’s character. Neftalí admires Orlando and aspires to be like him from a very young age, as can be seen in Chapter 3 when Orlando works from the Reyes household and Neftalí shadows Orlando’s every move. Orlando helps shape Neftalí’s future path as a writer, not only by being a writer himself and inspiring Neftalí, but by mentoring his nephew at the newspaper office. He models the kind of integrity Neftalí hopes to embody. His fearless advocacy for the Mapuche people shows Neftalí what it means to be a voice for the voiceless and to speak out against injustice through his writing.

Augusto is a secondary character and the librarian in Puerto Saavedra. The significance of his role lies in how he offers alternative views of Neftalí’s identity and of Neftalí’s choices regarding his father. Like Neftalí, Augusto had a father who didn’t approve of him reading books. His career as a librarian, despite this, shows Neftalí that a person’s path does not have to be limited by the narrow views of others, even fathers. Augusto perceives Neftalí’s conscientiousness and positively reinforces it. His appearance in Neftalí’s story demonstrates his impact: He helps Neftalí see that he’s not alone in the world, and that it’s not wrong to love art and poetry.

Blanca is a secondary character and a love interest for Neftalí. His crush on her and subsequent awkward interactions help establish the burden his shyness creates. Such scenes clarify his loneliness and longing for friendship. Becoming so nervous he can’t speak to Blanca makes him feel there’s something wrong with him. Finding another way to express himself to her through writing turns what seems like a curse into a blessing—it helps him recognize his calling. Being able to express his feelings for Blanca in writing shows Neftalí how he can overcome his fears in life and make his voice heard.