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The Witch is dead. And the discovery of her corpse - by a group of children playing near the irrigation canals - propels the whole village into an investigation of how and why this murder occurred. Rumors and suspicions spread. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters that most would write off as utterly irredeemable, forming a lasting portrait of a damned Mexican village.

Anna and Tom, an expat couple, have fashioned a dream life for themselves in Berlin. They are young digital "creatives" exploring the excitements of the city, freelancers without too many constraints, who spend their free time cultivating house plants and their images online. At first, they reasonably deduce that they've turned their passion for aesthetics into a viable, even enviable career, but the years go by, and Anna and Tom grow bored.

Deep in the heart of Mexico City, where five houses cluster around a sun-drenched courtyard, lives Ana, a precocious 12-year-old still coming to terms with the mysterious death of her little sister years earlier. Over the rainy, smoggy summer, she decides to plant a vegetable garden in the courtyard, and as she digs the ground and plants her seeds, her neighbors in turn delve into their pasts.

A young girl has died and the family’s maid is being interrogated. She must tell the whole story before arriving at the girl’s death.