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There are no personal phone calls allowed. We do, however, allow for emergencies. If you must make an emergency phone call, ask your supervisor first. If you can’t find your supervisor, ask Phillip Spiers, who sits over there. He’ll check with Clarissa Nicks, who sits over there. If you make an emergency phone call without asking, you may be let go.

The shambles of the gods stretches for miles,

a salvage yard where the smell of hot chrome rises,

where finned bodies lie beached and rusting,

and their names recall great chiefs

and tribes and the empowering animals.

Thunderbird, Winnebago, Mustang, Pontiac –

you must say these names out loud. You must

strip the radios in which the myths survive.

Repeat: Wi-Yuh returns to abolish the custom of killing

the beasts for their names. Leave the road maps

on the dashboards. Learn the song of spawning fish.

I don't trust nobody

             but the land I said

I don't mean

present company

of course

you understand the grasses

hear me too always

present the grasses

confident grasses polite

command to shhhhh

shhh listen

ANGEL: Here’s your big chance, baby. What would you like to ask the Angel of the Lord?

MARISOL (Energized): Are you real? Are you true? Are you gonna make the Bronx safe for me? Is it true angels’ favorite food is Thousand Island dressing? Is it true your shit smells like mangoes and when you’re drunk you speak Portuguese?

ANGEL: Honey, last time I was drunk…

          (Marisol gets a sudden, horrifying realization.)

MARISOL: Wait a minute – am I dead?

no one wants to admit it but you just

might end up one day in the wrong

place at the wrong time and some

evil shit rains down on you

and maybe you get

crippled or blind

or plain old

dead and

not one soul will give a good goddamn

because they can soothe them-

selves with a wrung out prayer

about wrong places and

wrong times, when

even as they’re

thinking that

they know

that everywhere is the wrong place

and every hour is the wrong hour

and that bad breaks don’t seek

you out; they’re always there

waiting to swing into action

like a traitor limb you

didn’t even know

you had

To live in the city of El Paso in those days was to hover at the edge of crushing and proximate cruelty, to safely fill the lungs with air steeped in horror. In news, in academic texts, in literature and art, El Paso’s twin city of Juárez was perpetually being presented as a place of murder and violence, a landscape of factories, maquiladoras, drug cartels, narcos, hit men, sicarios, delinquents, military, police, poverty, femicide, rape, kidnapping, disappearance, homicide, slaughter, massacre, shootings, gun fights, turf wars, mass graves, garbage dumps, impunity, corruption, decay, erosion, a hemispheric laboratory of social and economic horror. This representation—the narrative of a city irreparably fractured by its looming border, saddled with broken institutions and a terrorized populace—had become part and parcel of its legacy, the subconscious inheritance of all those who came into the city’s orbit.

From THE LINE BECOMES A RIVER by Francisco Cantu, to be published on February 6, 2018 by Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright (c) 2018 by Francisco Cantu.