This paper analyzes how José María Arguedas' novel Deep Rivers uses chronotopes, or the intersections of time and space, to depict a decolonial bildungsroman narrative. Specifically, it examines the chronotopes of the boarding school, neighborhood bars, wealthy landowners' houses, and rural villages where farmers live that Ernesto experiences. Through this chronotopic analysis, the paper argues that the only suitable option presented for Ernesto's future is to reconnect with the ayllu, the decolonial space of ancestral memory transformed.