Tierra del Fuego, 1902. In the Salesian asylum, an Indian girl raves, burning with fever, surrounded by a circle of old people; in the neighboring cell, her brother, the wolf boy, glimpses the horror of the story in a flash.

La Pampa, 1878. A Creole girl pursued by a tribal chief suddenly changes the rules, inventing an intimate and hypnotic game that blends power and slavery.
Buenos Aires, 1887.

Little Stone Foot, the last Araucanian prince, begins to seek sainthood: he slowly kills the Indian within himself and deprives an entire people of their future.

La Plata, 1982. The images of an old military daguerreotype come to life to tell a story of jealousy and revenge in the “toldo de las indias” (the Indians’ tent).

Tierra del Fuego, 1905. At the southernmost tip, the island of fire and great storms shelters two enemy tribes that claim the same name for themselves: Those of Us Who Go Further, as if naming both silence and poetry.

The result of Los que llegamos más lejos is a captivating tapestry of stories-some almost novellas, others as brief as aphorisms-a “chanson de geste” whose true protagonist is happiness, the freedom to imagine.