Alright, let's roll up our sleeves and dive into this.
1. One Morning From Uneasy Dreams
The story opens in a Jewish cemetery in Prague, where a team of workers are excavating one of the graves. Their identity and purpose (other than the fact that they're clearly digging up a corpse) remains a mystery, but we glean that they do not have any official permission to be doing what they are doing, and they could get into quite a bit of trouble for doing it. However, they seem to consider their work important enough to be worth the risk.
A mysterious individual, who appears to be bankrolling the project, is watching from the sidelines. This person's name is not given, but the text refers to him repeatedly with an italicized "he," probably indicating that he's someone important. He seems to be taking a great personal risk by joining his workmen at the site, but he wants to witness the results of this project firsthand. The stakes of whatever they are up to are indicated to be global.
>The team moved aside as he approached. He was dressed not in his usual fine suit, but instead in nondescript clothing, jeans and a hoodie top. He wore sneakers, he always wore sneakers, or canvas shoes, never leather, even with the most expensive of clothes. His driver stood with him over the grave. He was tall, and muscular, and clean-shaven, and very blond.
This is actually some damn fine character description, believe it or not. The author gives us just enough essential information to get a glimpse of this character, while still preserving the mystery surrounding him. Note that there are only two sentences dedicated to describing this person's physical appearance, but we learn quite a bit about him just from what we're given.
We know that he doesn't ordinarily wear casual clothes, so presumably he is well-dressed most of the time, but also that he has a personal quirk about always wearing sneakers. The description of the driver is also sparse, but gives us enough information to form a picture: he is blond, muscular, clean shaven, and tall.
Take note of the word economy here. As we've seen in other stories, you don't want to give the reader either too much information or too little of it. Thus, it's important to focus your description on points that are most essential: what can you tell us about this character that gives us the clearest impression of him?
From the author's sparse description of the mystery man behind this grave-robbing expedition, we actually learn several important things about him. He has a limo and his own personal driver, and can afford to hire a bunch of workmen to dig up a grave in the middle of the night, so he clearly has money. The fact that he's involved in a questionable project like this suggests that he's willing to skirt the law and take risks in order to achieve his ambitions.
The fact that he's taking such risks, as well as spending money on an effort that seems to be more about intellectual curiosity than any material motive, suggests he's the kind of wealthy person for whom money is means to an end, rather than a primary motivation. This is underscored by his attire: he ordinarily wears expensive clothes, indicating that he has no difficulty playing the part of a wealthy businessman (or whatever he is exactly), but he also wears casual shoes with his suits, indicating that he has an independent streak.
Finally, the fact that he can brazenly and confidently flaunt convention like this indicates that he has no actual need to conform; whoever this guy is, he's clearly powerful and successful enough that he doesn't need anyone's approval. This guy isn't middle-management; he's a boss. All of this information is conveyed in a few short paragraphs, and the author does not communicate any of it directly; it's all made clear through impressions.
We're only about five paragraphs into the story, and I've learned that first impressions are pretty much worthless when it comes to evaluating these god-awful horse stories, so I don't want to give Chatoyance too much praise just yet. However, this is a really fine example of a point I've harped on many, many times: word economy is important. Being able to communicate a maximum amount of information using a minimal amount of words is a skill whose value cannot possibly be overstated.
Anyway, whatever; the guys dig up this grave, and it turns out to be Franz Kafka's corpse they're digging up. Holy metafiction, Batman.
Three more seemingly significant things happen. First, the laborers see nothing unusual about the corpse, but our unconventional billionaire clearly makes note of something. Second, whatever he makes note of is clearly very surprising to him. Third, his surprise causes him to exclaim "Sweet Celestia," rather than something more quintessentially human. For now, the author leaves us to ponder what the significance of this might be.
Page break. We arrive in a new scene with new characters. A girl named Gregoria Samson is suddenly awakened by her sister Greta pounding on her door. Her sister calls her by a rude nickname and suggests that she has an overly hairy posterior, indicating that they don't much get along.
I know I said I was going to mostly leave the Kafkaesque please, no meat touching ma'am stuff alone, but there's a fairly obvious reference I ought to get out of the way before we move on. The protagonist of Metamorphosis is named Gregor Samsa, and he has a sister named Grete who mistreats him. So, I'm assuming that Gregoria is going to be our main character and that her sister is going to play a similar role to Grete in the story.
>Her little sister was a pest. She had always been a vile, verminous bug.
I'm assuming this is also a not-especially-subtle reference to the source material.
Anyway, tl;dr this bitch wakes up, her sister calls her a gorilla, and it turns out that for some reason she's a fucking pony now. From context, we can infer that she was not one before.