Luis Alberto Urrea Quotes

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...There was nothing one could do when love came. It was fast, and it was strong, and if it were not good, then surely God would not have allowed it such power.
Luis Alberto Urrea (The Hummingbird's Daughter)
Death is alive, they whispered. Death lives inside life, as bones dance within the body. Yesterday is within today. Yesterday never dies.
Luis Alberto Urrea (The Hummingbird's Daughter)
Words are the only bread we can really share.
Luis Alberto Urrea
This is how Heaven works. They're practical. We are always looking for rays of light. For lightning bolts or burning bushes. But God is a worker, like us. He made the world — He didn't hire poor Indios to build it for him! God has worker's hands. Just remember — angels carry no harps. Angels carry hammers.
Luis Alberto Urrea (The Hummingbird's Daughter)
That is the prize: to realize, at the end, that every minute was worth fighting for with every ounce of blood and fire.
Luis Alberto Urrea (The House of Broken Angels)
Owls visited them at night. Some thought the owls were witches. Some thought they were angels of death. Some thought they were holy and brought blessings. Some thought they were the restless spirits of the dead. The cowboys thought they were owls.
Luis Alberto Urrea (The Hummingbird's Daughter)
I’m grateful to the following writers, whose work you should read if you want to learn more about Mexico and the realities of compulsory migration: Luis Alberto Urrea, Óscar Martínez, Sonia Nazario, Jennifer Clement, Aída Silva Hernández, Rafael Alarcón, Valeria Luiselli, and Reyna Grande.
Jeanine Cummins (American Dirt)
Everybody knew that being dead could put you in a terrible mood.
Luis Alberto Urrea (The Hummingbird's Daughter)
Poverty ennobles no one; it brutalizes common people and makes them hungry and old.
Luis Alberto Urrea (Across the Wire: Life and Hard Times on the Mexican Border)
If it was the Border Patrol’s job to apprehend lawbreakers, it was equally their duty to save the lost and the dying.
Luis Alberto Urrea (The Devil's Highway: A True Story)
On that long westward morning, all Mexicans still dreamed the same dream. They dreamed of being Mexican. There was no greater mystery.
Luis Alberto Urrea (The Hummingbird's Daughter)
There is a minute in the day, a minute for everyone, though most everyone is too distracted to notice its arrival. A minute of gifts coming from the world like birthday presents. A minute given to every day that seems to create a golden bubble available to everyone.
Luis Alberto Urrea (The House of Broken Angels)
The sky peeled back for a moment, and a weak ray of sunset spilled over the scene like the diseased eye of some forgetful god -- the light bearing with it cold in place of heat.
Luis Alberto Urrea (Into the Beautiful North)
Roses denote grace.
Luis Alberto Urrea (The Hummingbird's Daughter)
The world looked to them like a great roll of butcher paper unfurled on a table.
Luis Alberto Urrea (Into the Beautiful North)
Why was he thinking about work? About the past? It was over. It was all over. He was never going to work again. “This second,” his father liked to tell him, “just became the past. As soon as you noticed it, it was already gone. Too bad for you, Son. It’s lost forever.
Luis Alberto Urrea (The House of Broken Angels)
If you were born to be a nail, you had to be hammered.
Luis Alberto Urrea (The Hummingbird's Daughter)
Numbers never lie, after all: they simply tell different stories depending on the math of the tellers.
Luis Alberto Urrea (The Devil's Highway: A True Story)
Families came apart and regrouped, she thought. Like water. In this desert, families were the water.
Luis Alberto Urrea (The House of Broken Angels)
These children are so stupid; they think they are the first to discover the world.
Luis Alberto Urrea (The House of Broken Angels)
To my dogs,” he announced, “I am a legend.
Luis Alberto Urrea (The House of Broken Angels)
That irked the crap out of him, but maybe that's just what happens when you get old. Everything's so damned irksome.
Luis Alberto Urrea (The Water Museum)
When you died, you died in small doses. You had trouble speaking. You forgot who was beside you. You were suddenly furious and in a panic of outrage. You wished you could be saintly. You wished you weren't so weak. You suddenly felt better and fooled yourself into believing that a miracle was about to happen. Well, wasn't that all a dirty rotten thing to pull on somebody.
Luis Alberto Urrea (The House of Broken Angels)
Spanish! His family didn't even like speaking Spanish to him. He tried, and they insisted on answering him in English. Though they knew perfectly well that he spoke Spanish as well as they did and better than their children did. Each side had something to prove, and none of them knew what it was.
Luis Alberto Urrea (The House of Broken Angels)
Fat green frogs, the eternally grinning type destined to be shellacked into bizarre poses while wearing mariachi hats and holding toy trumpets and guitars and then sold in tourist traps all over Mexico, jostled lazily in the dappled shadows.
Luis Alberto Urrea (Into the Beautiful North)
Who was she to say that God did not use the coyote’s teeth to chew His gifts?
Luis Alberto Urrea (The Hummingbird's Daughter)
If only Mexico paid their workers a decent wage.
Luis Alberto Urrea (The Devil's Highway: A True Story)
She learned that women were braver than men. Braver and stronger. She learned that she herself could one day stretch open as wide as a window, and it would not kill her.
Luis Alberto Urrea (The Hummingbird's Daughter)
Doesn't every town in America have an old-timer called The Professor? That duffer who knows everything and everybody, as long as they are dead.
Luis Alberto Urrea (The Water Museum)
Who was to say that God did not use the coyote’s teeth to eat His gifts?
Luis Alberto Urrea (The Hummingbird's Daughter)
The Sinaloans had heard that the Sonorans indulged in the unspeakable atrocity of eating flour tortillas. Flour! Any human being knew that tortillas were made of corn.
Luis Alberto Urrea (The Hummingbird's Daughter)
Luis Alberto Urrea, Óscar Martínez, Sonia Nazario, Jennifer Clement, Aída Silva Hernández, Rafael Alarcón, Valeria Luiselli, and Reyna Grande.
Jeanine Cummins (American Dirt)
Lydia knows a little about las colonias of Tijuana because she’s read the books, because Luis Alberto Urrea is one of her favorite writers, and he’s written about the
Jeanine Cummins (American Dirt)
Big Angel could not reconcile himself to this dirty deal they had all been dealt. Death. What a ridiculous practical joke. Every old person gets the punch line that the kids are too blind to see. All the striving, lusting, dreaming, suffering, working, hoping, yearning, mourning, suddenly revealed itself to be an accelerating countdown to nightfall. ....This is the prize: to realize, at the end, that every minute was worth fighting for with every ounce of blood and fire.
Luis Alberto Urrea (The House of Broken Angels)
From the beginning, the highway has always lacked grace-those who worship desert gods know them to favor retribution over the tender dove of forgiveness. In Desolation, doves are at the bottom of the food chain. Tohono O'Odham poet Ofelia Zepeda has pointed out that rosaries and Hail Marys don't work out here. "You need a new kind of prayers," she says "to negotiate with this land.
Luis Alberto Urrea (The Devil's Highway: A True Story)
I can't believe how many students don't read. They want to be writers, but they haven't read anything at all. They have looked at book covers, which usually allows them enough expertise to sneer, but they haven't read the books. How many young poets "don't like" poetry? How many fiction writers don't know Lehane from Nevada Barr?
Luis Alberto Urrea (Six Kinds of Sky: A Collection of Short Fiction)
And everyone loved sunsets. The light lost its sanity as it fell over the hills and into the Pacific--it went red and deeper red, orange, and even green. The skies seemed to melt, like lava eating black rock into great bite marks of burning. Sometimes all the town stopped and stared west. Shopkeepers came from their rooms to stand in the street. Families brought out their invalids on pallets and in wheelbarrows to wave their bent wrists at the madness consuming their sky. Swirls of gulls and pelicans like God's own confetti snowed across those sky riots.
Luis Alberto Urrea (The House of Broken Angels)
There were other things, though. There were always more details trailing any good story. Like tin cans on the back bumper of a newlywed’s car. Rattles and pings and wonderful small moments spinning in the wake of a great life.
Luis Alberto Urrea (The House of Broken Angels)
Even Ignatius Loyola wavered. That dark night of the soul, man. No one’s immune. It would all be meaningless if you didn’t wonder and doubt. That’s what makes it real. That’s what makes us people. God could have sent angels to flutter around like fairies, delivering rum punch and manna all day on a cosmic cruise ship. But what would that avail us?
Luis Alberto Urrea (The House of Broken Angels)
No wonder Americans seemed crazy to everybody else--they were utterly alone in the vastness of this ridiculously immense land. They all skittered about, alighting and flying off again like frantic butterflies. Looking for--what? What were they looking for?
Luis Alberto Urrea (Into the Beautiful North)
What we take from granted in the United States as being Mexican, to those from southern Mexico, is almost completely foreign. Rural Mexicans don't have the spare money to drown their food in melted cheese. They don't smother their food in mounds of sour cream. Who would pay for it? They have never seen "nachos." In some regions of the south, they eat soup with bananas; some tribal folks not far from Veracruz eat termite tacos; turkey, when there are turkeys, is not filled with "stuffing"―but with dry pineapples, papaya, pecans. Meat is killed behind the house, or it is bought, dripping and flyblown, off a wooden plank in the village market. They eat cheeks, ears, feet, tails, lips, fried blood, intestines filled with curdled milk. Southerners grew up eating corn tortillas, and they never varied in their diet. You find them eating food the Aztecs once ate. Flour tortillas, burritos, chimichangas―it's foreign food to them, invented on the border. They were alliens before they ever crossed the line.
Luis Alberto Urrea (The Devil's Highway: A True Story)
All these women, Huila thought: Mothers of God. These skinny, these dirty and toothless, these pregnant and shoeless. These with an issue of blood, and these with unsuckled breasts and children cold in the grave. These old forgotten ones too weak to work. These fat ones who milked all day. These twisted ones tied to their pallets, these barren ones, these married ones, these abandoned ones, these whores, these hungry ones, these thieves, these drunks, these mestizas, these lovers of other women, these Indians, and these littlest ones who faced unknowable tomorrows. Mothers of God. If it was a sin to think so, she would face God and ask Him why. “The
Luis Alberto Urrea (The Hummingbird's Daughter)
Sublime Books The Known World, by Edward P. Jones The Buried Giant, by Kazuo Ishiguro A Thousand Trails Home, by Seth Kantner House Made of Dawn, by N. Scott Momaday Faithful and Virtuous Night, by Louise Glück The Left Hand of Darkness, by Ursula K. Le Guin My Sentence Was a Thousand Years of Joy, by Robert Bly The World Without Us, by Alan Weisman Unfortunately, It Was Paradise, by Mahmoud Darwish Collected Fictions, by Jorge Luis Borges, trans. Andrew Hurley The Xenogenesis Trilogy, by Octavia E. Butler Map: Collected and Last Poems, by Wisława Szymborska In the Lateness of the World, by Carolyn Forché Angels, by Denis Johnson Postcolonial Love Poem, by Natalie Diaz Hope Against Hope, by Nadezhda Mandelstam Exhalation, by Ted Chaing Strange Empire, by Joseph Kinsey Howard Tookie’s Pandemic Reading Deep Survival, by Laurence Gonzales The Lost City of the Monkey God, by Douglas Preston The House of Broken Angels, by Luis Alberto Urrea The Heartsong of Charging Elk, by James Welch Selected Stories of Anton Chekhov, trans. Richard Pevear and Larissa Volokhonsky The Sound of a Wild Snail Eating, by Elisabeth Tova Bailey Let’s Take the Long Way Home, by Gail Caldwell The Aubrey/Maturin Novels, by Patrick O’Brian The Ibis Trilogy, by Amitav Ghosh The Golden Wolf Saga, by Linnea Hartsuyker Children of Time, by Adrian Tchaikovsky Coyote Warrior, by Paul VanDevelder Incarceration Felon, by Reginald Dwayne Betts Against the Loveless World, by Susan Abulhawa Waiting for an Echo, by Christine Montross, M.D. The Mars Room, by Rachel Kushner The New Jim Crow, by Michelle Alexander This Is Where, by Louise K. Waakaa’igan I Will Never See the World Again, by Ahmet Altan Sorrow Mountain, by Ani Pachen and Adelaide Donnelley American Prison, by Shane Bauer Solitary, by Albert Woodfox Are Prisons Obsolete?, by Angela Y. Davis 1000 Years of Joys and Sorrows, by Ai Weiwei Books contain everything worth knowing except what ultimately matters. —Tookie * * * If you are interested in the books on these lists, please seek them out at your local independent bookstore. Miigwech! Acknowledgments
Louise Erdrich (The Sentence)
listen carnales listen to the hymn of it, the lie of it, the prayer of it, the voices singing our names: listen it’s our story, it’s our song,
Luis Alberto Urrea (Tijuana Book of the Dead)
-This young woman is an infernal abortion. She is Satan incarnate, for who is better to portray Satan than a rebellious woman?
Luis Alberto Urrea (The Hummingbird's Daughter)
They breathed. They felt their lungs fill the sky, and they let the dark clouds inside them flow out. Then they connected to the earth.
Luis Alberto Urrea (The Hummingbird's Daughter)
If you were born to be a nail, you cannot curse the hammer.
Luis Alberto Urrea (The Hummingbird's Daughter)
Blessed are you when you pray for others. Shame on you when you pray out of selfishness and greed (311).
Luis Alberto Urrea (The Hummingbird's Daughter)
Carnal, rocks remember when they were mountains.' They stared at the rocks in the garden. 'And what do mountains remember?' 'When they were ocean floors.' Big Angel, Zen master.
Luis Alberto Urrea (The House of Broken Angels)
In the desert, we are all illegal aliens.
Luis Alberto Urrea (The Devil's Highway: A True Story)
My friend,' he said, 'no one is more ired of religion than a priest.
Luis Alberto Urrea (The Hummingbird's Daughter)
Big Angel was late to his own mother's funeral.
Luis Alberto Urrea (The House of Broken Angels)
Each of the women elaborately ignored the other.
Luis Alberto Urrea (The House of Broken Angels)
By the time he realized he was nowhere near Target, he was lost in a housing tract apparently formed entirely of cul-de-sacs.
Luis Alberto Urrea (The House of Broken Angels)
The whole family had inherited the bizarre belief system of Antonio and América: instant coffee was some kind of miracle.
Luis Alberto Urrea (The House of Broken Angels)
Big Angel didn’t speak, just beamed like some small lighthouse.
Luis Alberto Urrea (The House of Broken Angels)
This ain’t what we are, homes,” Lalo says. “This is not us. This is the story they tell about us, but it’s not true.
Luis Alberto Urrea (The House of Broken Angels)
The People crossed themselves. They knew a Jesus reference when they heard it.
Luis Alberto Urrea (The Hummingbird's Daughter)
Is it a crime to want to be good? she cried
Luis Alberto Urrea (The Hummingbird's Daughter)
Bees are excellent engineers, better than even you. They are are hard workers...They are as brave as Indian warriors. And they make honey. Far better than humans, my friend.
Luis Alberto Urrea (The Hummingbird's Daughter)
She had done as much as possible to create a stable, gloriously dull life for herself
Luis Alberto Urrea (Good Night, Irene)
These are your sisters and the GIs are your brothers and we expect you to treat them as such. Win this war with your decency. Because we are Americans. And this is what Americans do.
Luis Alberto Urrea (Good Night, Irene)
Big Angel had never noticed his mother’s endowment before. Suddenly, she seemed to be blessed with an expanse of pillowy flesh. And she tucked the parrot into that cleavage, adjusting herself as it sank from view, finishing the operation by using her thumb on its head to get it well positioned in the shadows. She adjusted her bust and said, “Let’s go to San Diego, boys!
Luis Alberto Urrea (The House of Broken Angels)
It was as if a dump truck had spilled a ton of humanity into the yard. Bodies were jammed onto the patio, elbowing gently to get at the new macaroni salad and ignoring the mustard coleslaw.
Luis Alberto Urrea (The House of Broken Angels)
wonder, if we in the U.S. stopped buying cocaine and stopped selling heavy weapons across the border, what would happen then? So easy to talk about them. What does it mean when they are also us?
Luis Alberto Urrea (The Devil's Highway: A True Story)
She is a karateka," La Osa replied. "Nayeli could karate-kick you to death where you sit." "That's hardly feminine." He sniffed. "Perhaps," Nayeli suggested, "it is time for a new kind of femininity.
Luis Alberto Urrea (Into the Beautiful North)
Cruz made the sign of the cross over them. He hefted his rifle onto his shoulder and walked away. His warriors followed, blessed by the Lord, reconciled, holy in this day He had made, and ready to shoot.
Luis Alberto Urrea (The Hummingbird's Daughter)
No one in this dogfight has any illusions: it is all instinct and training. They move like machines. But they never lose their own sense of style. Their own dance moves. They speak the same aerial language.
Luis Alberto Urrea (Good Night, Irene)
Some of the women, it must be said, had not yet accepted the idea that a woman could be Municipal President. They had been told that they were moody and flighty and illogical and incapable for so long that they believed these things.
Luis Alberto Urrea (Into the Beautiful North)
Miguel Angel," he said, "It isn't hard to die. Everybody does it. Even flies do it. Everyone here is doing it. We're all terminal." He had a tear in his eye; Big Angel could see it brimming. "Your schedule is just different from mine.
Luis Alberto Urrea (The House of Broken Angels)
Tell me," Big Angel said. "Did I do anything good in your life?" "You gave me the books." It was instantaneous. "Yes. All the books--that was pretty good. I gave you good ones." "And bad ones." "True. But all books are good, man. Imagine no books.
Luis Alberto Urrea (The House of Broken Angels)
Rita Vargas caught her breath—the dark was spilling out of the mountains as the sun vanished in the west. The deep purple/blue shadows spread out on the water of the Caribe. The ocean was shadowy, yet at the same time, glowing. The massif green on one side, and velvety black on the other. And below, the lights of the cities scattered and burned, white, yellow, white, looking like gems. Stars. She still recalls it as one of the most beautiful sights she'd ever witnessed, as if the coast of Veracruz were somehow welcoming its sons home. It would have astounded the dead if the could have looked out the windows. Why would they ever have left such a beautiful home for the dry bones and spikes of the desert? If they could have seen what she saw, they might have stayed home.
Luis Alberto Urrea (The Devil's Highway: A True Story)
Cutters read the land like a text. They search the manuscript of the ground for irregularities in its narration. They know the plots and the images by heart. They can see where the punctuation goes. They are landscape grammarians, got the Ph.D. in reading dirt.
Luis Alberto Urrea (The Devil's Highway: A True Story)
He couldn't believe she was real. She was like some dream, some story old men told youngsters. She made a fool out of him with the slightest grin or pout. She slept in his bed, not beside him, but around him, her aromatic legs and arms wrapped around him, her mouth against his throat, her beautiful thundercloud hair over his face, his chest. He kissed her hair. Took it to his fist and kissed it, breathed it...Oh my God, he thought. He didn't know what it was about her that made him more insane: her belly, or the pale friction of her thighs; the small of her back, or her armpits.
Luis Alberto Urrea (The Hummingbird's Daughter)
Tookie’s Pandemic Reading Deep Survival, by Laurence Gonzales The Lost City of the Monkey God, by Douglas Preston The House of Broken Angels, by Luis Alberto Urrea The Heartsong of Charging Elk, by James Welch Selected Stories of Anton Chekhov, trans. Richard Pevear and Larissa Volokhonsky The Sound of a Wild Snail Eating, by Elisabeth Tova Bailey Let’s Take the Long Way Home, by Gail Caldwell The Aubrey/Maturin Novels, by Patrick O’Brian The Ibis Trilogy, by Amitav Ghosh The Golden Wolf Saga, by Linnea Hartsuyker Children of Time, by Adrian Tchaikovsky Coyote Warrior, by Paul VanDevelder
Louise Erdrich (The Sentence)
The women posed for snapshots. Dozens of snapshots. . . . They imagined that, long after the soldiers had become old, perhaps even after they'd died, someone would come to wonder about these women holding up rifles or tommy guns or donuts and laughing with their grandfathers in front of the big dark truck.
Luis Alberto Urrea (Good Night, Irene)
Don Pepe was a Mexican man: a fatalist. He meant to impart much more than comfort. He meant that all good things would also end. All joy would crumble. And death would visit each and every one of them. He meant that regimes and ancient orders and cultures would all collapse. The world as we know it becomes a new world overnight.
Luis Alberto Urrea (Into the Beautiful North)
He believed he was celebrating them when he shared stories of their foibles. He felt the burden of being their living witness. Somehow the silliest details of their days were, to him, sacred. And he believed that if only the dominant culture could see these small moments, they would see their own human lives reflected in the other.
Luis Alberto Urrea (The House of Broken Angels)
The border remains a fluid, mutating, stubbornly troubling, enthusiastically lethal region. Perhaps it’s not a region at all. Maybe it’s just an idea nobody can agree on. A conversation that never ends, even when it becomes an argument and all participants kick over the table and spill their drinks and stomp out of the room. I was born there.
Luis Alberto Urrea (The Devil's Highway: A True Story)
Tomas led a young woman by the hand and walked up into the foothills. Millian, the miner from Rosario, had introduced her to the patron, already buying points for himself. He was no fool. And the girl, no fool either, lifted her skirts for Tomas as he knelt before her, licking his way up her thighs -brown and sweet as candy, at the same time, tart and salty, musky, silken and cold in the warm air, refreshing as the sorbet he licked in Culiacan back when he was a student. She was amazed that this bit of her body could the great master to his knees before her. She was perhaps the most beautiful girl on that whole plain, but he did not her name and felt no need to ask. He pressed his face to her underwear, redolent with the burning scent of her, and he pulled the cotton down, over the bright points of her hips , the shadowy curve of her belly, until the fog of dark hair came into his sight, soft in the moonlight, tickling his face as he bent down to her again. He pressed his lips on the mound of her, breathing her in, tasting her like a dog, as her skirts fell over his head and her fingers pulled his head tighter to her, her legs moving apart in the dark, her beauty falling around him, his greatest gift to him, this flavor, this smell, her scent.
Luis Alberto Urrea (The Hummingbird's Daughter)
Back at the house. How could you end a whole era and bury a century of life and be home before suppertime? Big Angel could not reconcile himself to this dirty deal they had all been dealt. Death. What a ridiculous practical joke. Every old person gets the punch line that the kids are too blind to see. All the striving, lusting, dreaming, suffering, working, hoping, yearning, mourning, suddenly revealed itself to be an accelerating countdown to nightfall.
Luis Alberto Urrea (The House of Broken Angels)
Of course, the illegals have always been called names other than human--wetback, taco-bender. (A Mexican worker said: "If I am a wetback because I crossed a river to get here, what are you, who crossed an entire ocean?') In politically correct times, "illegal alien" was deemed gauche, so "undocumented worker" came into favor. Now, however, the term preferred by the Arizona press is "undocumented entrant." As if the United States were a militarized beauty pageant. Maye it is.
Luis Alberto Urrea (The Devil's Highway: A True Story)
Even if, at the moment, you can't sit down and do the gruntwork of stringing verbs and nouns together, you are writing. It is a way of seeing, a way of being. The world is not only the world, but your personal filing cabinet. You lodge details of the world in your sparkling nerve-library that spirals through your brain and coils down your arms and legs, collects in your belly and your sex. You write, even if you can't always "write." However, writers write. Active, not passive.
Luis Alberto Urrea (Six Kinds of Sky: A Collection of Short Fiction)
It seems jolly on the page. But imagine poverty, violence, natural disasters, or political fear driving you away from everything you know. Imagine how bad things get to make you leave behind your family, your friends, your lovers; your home, as humble as it might be; your church, say. Let's take it further - you've said good-bye to the graveyard, the dog, the goat, the mountains where you hunted, your grade school, your state, your favorite spot on the river where you fished and took time to think.
Luis Alberto Urrea (Across the Wire: Life and Hard Times on the Mexican Border)
shook her, this place. It was awful. Tragic. Yet… yet it moved her. The sorrow she felt. It was profound. It was moving, somehow. The sorrow of the terrible abandoned garbage dump and the sad graves and the lonesome shacks made her feel something so far inside herself that she could not define it or place it. She was so disturbed that it gave her the strangest comfort, as though something she had suspected about life all along was being confirmed, and the sorrow she felt in her bed at night was reflected by this soil.
Luis Alberto Urrea (Into the Beautiful North)
The whole family had inherited the bizarre belief system of Antonio and América: instant coffee was some kind of miracle. Mexicans of that generation liked to stir a spoonful of coffee powder into a cup of hot water and tinkle it around with a spoon. As if something highly sophisticated and magical were happening. Nescafé. Café Combate. Then they poured Carnation canned milk into it. They thought they were in some James Bond movie, living ahead of the cultural curve. Or maybe they were just sick of coffeepots and grounds.
Luis Alberto Urrea (The House of Broken Angels)
Getting bodies,” in Border Patrol lingo, didn’t necessarily mean collecting corpses. Bodies were living people. “Bodies” was one of the many names for them. Illegal aliens, dying of thirst more often than not, are called “wets” by agents. “Five wets” might have slipped out. “Wets” are also called “tonks,” but the Border Patrol tries hard to keep that bon mot from civilians. It’s a nasty habit in the ranks. Only a fellow border cop could appreciate the humor of calling people a name based on the stark sound of a flashlight breaking over a human head.
Luis Alberto Urrea (The Devil's Highway: A True Story)
Aztlán (“The Place of the Reeds”) was the traditional home of the Aztecs, a possibly mythical motherland from which the tribe ventured forth on a one-hundred-year walk. It was a land to the north of Mexico City. Chicanos recognize Aztlán as being in the American southwest, and it came to represent the stomping ground of “La Chicanada,” or the entirety of the Hispanic west. The Aztecs (Mexica, pronounced “Meshica,” hence, “Chicano”) walked south, out of the deserts, on their way to what would become Mexico City. They apparently walked across the Devil’s Highway on their way home.
Luis Alberto Urrea (The Devil's Highway: A True Story)
P.S. Do no violence. Kill no one.
Luis Alberto Urrea (The Hummingbird's Daughter)
Julian wore his favorite good-luck red-striped soccer jersey. He was planning to make money to build cement walls for his mother's house. He was recently married, and he and his wife were expecting a child that October. His father said Julian had promised to "always behave with respect," and that he would do nothing to cost his father his feelings of pride. He had a note from his bridge in his pocket.
Luis Alberto Urrea (The Devil's Highway: A True Story)
Our power comes from the earth
Luis Alberto Urrea (The Hummingbird's Daughter)
I am in the earth and the earth is in me
Luis Alberto Urrea (The Hummingbird's Daughter)
Life shifting, as life does
Luis Alberto Urrea (The Hummingbird's Daughter)
Gringos! They have copied us again
Luis Alberto Urrea (The Hummingbird's Daughter)
[W]hen your politics no longer have room for empathy, things spin into an amoral chaos. Not only the desperate suffer. Who gets hurt and who stays safe becomes hard to predict.
Luis Alberto Urrea
Dead in Their Tracks by John Annerino
Luis Alberto Urrea (The Devil's Highway: A True Story)
The armored creatures wrestled one another, and when one seemed about to climb out of the basket and make its escape, the others would grab it and haul it back down into the endless battle.
Luis Alberto Urrea (Into the Beautiful North)
You see, Satan is not a monster. We don't see him when he comes because he has disguised himself in beauty. The devil is, after all, an angel of light. The Morning Star. Do not allow yourself to be seduced by the beautiful side of evil.
Luis Alberto Urrea (The Hummingbird's Daughter)
Somewhere in that vast tapestry of interwoven odors, Angel was sure he could smell the dead. Not their bodies, but their souls. His newest theory was that the dead came as ghosts in sudden finger-thin wafts of perfume or cigarette or hair’s sweet soap scents when it was drying in the sun…
Luis Alberto Urrea (The House of Broken Angels)
Tomás rode his wicked black stallion through the frosting of starlight that turned his ranch blue and pale gray, as if powdered sugar had blown off the sky and sifted over the mangoes and mesquites.
Luis Alberto Urrea (The Hummingbird's Daughter)