The Flamethrowers

Valera is an unapologetically ambitious character who represents the history that affects each of the characters in the 1975 timeline. He internalizes the rejection of a girl in his childhood and uses that resentment as inspiration for his drive. He embraces the gang-style nature of motorcycle culture because he thrives off of toxic masculinity. But while he is imperfect and definitely sexist, he is also a creator of his destiny and unremorseful of the man he is. His power comes from his inability to empathize with others. Though this can seem like a lonely existence, Valera’s ambitions are what keep him company, and that’s enough for him. Valera always wants more, and he is unafraid to do whatever it takes to whomever to get his way. Valera is like a mixture of his son Sandro and the character of Reno. He is selfish, but it’s almost an admirable quality in him. He is also crucial to the plot of the story, as his actions many decades prior to the central narrative of the novel create a ripple effect that continues to influence his family, his country, and the fabric of society. He is the epitome of power.

Sandro Valera, Valera’s second son and Reno’s boyfriend, is a trust fund artist who rejects his family’s business in favor of a highly individualistic lifestyle. He prefers to see the world as a place of options, all of which he is open to; he chooses who to sleep with, who to befriend, what to do, and who to be. Sandro, like his father, doesn’t have a ton of empathy for other people. Unlike his father, Sandro’s lack of empathy comes from an embittered relationship with the nature of the soul. Sandro finds the imperfections of human beings frustrating but accepts this as immutable. He chooses to deal with his existential crisis by focusing on himself, the only person he can truly appreciate. Sandro designs his world to be endlessly entertaining, but he can’t design his world enough to feel safe. He carries a gun around with him and can’t commit to monogamy, two distinct issues that come from the same source. Sandro simply doesn’t like himself very much because he sees himself as a sad product of a detestable family. Sandro wants to be understood by himself, but not necessarily by others. He prefers people who see him for his ugly sides, not just the positive things he has to offer. Although he is easy to judge and dislike, he is not an antagonist. Rather, he is yet another misunderstood soul wandering through life.