Über die Autorin bzw. den Autor

Benjamin Alire Sáenz writes poetry and prose for adults and teens. He was the first Hispanic winner of the PEN/Faulkner Award and a recipient of the American Book Award for his adult literature. His award-winning books for young readers include the beloved Aristotle and Dante Discover the Secrets of the Universe, a Printz Honor Book, Stonewall Award winner, Pura Belpré Award winner, and Lambda Literary Award winner, and its #1 New York Times bestselling sequel, Aristotle and Dante Dive into the Waters of the World. He lives in El Paso, Texas.

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The Espejo family of El Paso, Texas, is like so many others in America in 1967, trying to make sense of a rapidly escalating war they feel does not concern them. But when the eldest son, Gustavo, a complex and errant rebel, receives a certified letter ordering him to report to basic training, he chooses to flee instead to Mexico. Retreating back to the land of his grandfather—a foreign country to which he is no longer culturally connected—Gustavo sets into motion a series of events that will have catastrophic consequences on the fragile bonds holding the family together.

Told with raw power and searing bluntness, and filled with important themes as immediate as today’s headlines, Names on a Map is arguably the most important work to date of a major American literary artist.

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Names on a Map

HarperCollins Publishers, Inc.

Chapter One

A Family

El Paso, Texas, Saturday, September 16, 1967

An unsettling calmness in the predawn breeze.

A hint of a storm.

The faint smell of rain.

A coolness in the air.

Summer has lasted and lasted. And lasted.

Four o'clock in the morning.

The house is dark. The members of the Espejo family are in bed. Some are asleep. Some are restless, awake, disturbed. Each of them alone, listening to their own interior breezes.

Octavio—husband, father, son—is asleep. He is lost in an unwelcome dream, a gust of wind kicking up the loose fragments of memory, grains of sand in the eye. He is struggling to see. He is struggling to understand what his father is saying to him, his father who has been dead for more than three years. He has had this dream before. His father is trying to tell him something, give him words of wisdom or a piece of advice or some essential bit of information he needs to survive. Maybe his father is speaking in Spanish. Maybe his father is speaking in English. It is impossible to tell. His father's lips are moving. But the words? Where are the words? His father is young and he, Octavio, is a boy—small—and he understands that they still live in Mexico. All his dreams take place in Mexico. Mexico before the fall. They do not yet live in exile. When he wakes, Octavio will not remember the dream.

Lourdes is awake. Sleep is not something she needs—it is something she endures. She is listening to her husband's mumblings. She is accustomed to his dreams. He has never been a calm sleeper. Whatever disturbs him by day will hunt him down as he sleeps. She shakes him gently, comforts him. "Shhhh, amor." His mumblings recede. She smiles. When he wakes, she will ask him about the dream. He will say he does not remember. You do not want to remember, that is what she will think, but she will say nothing and smile and ask him if he wants to know what he was mumbling. He will say it does not matter.

She looks at the time on the alarm clock and wonders if Rosario will make it through the day. "Maybe today I will die. Oh, today let me die." Rosario repeats her refrain every day. She recites the lines as if she is in a play and she waits for Lourdes to answer, a one-woman Greek chorus: "Today, I will die. Oh, today, I will die." And then they will pause, look into each other's eyes—and laugh. It has become a joke between them—a joke and a ritual. Lourdes does not want to think about what she will do when the old woman dies. She has become addicted to caring for her mother-in-law. But it is more than an addiction. So much more than that.

Rosario, too, is no longer asleep. Every morning she wakes to the darkness of the new day. It is a curse, an affliction she has suffered for years, this lying awake every morning with nothing to do, this measuring of the hours that her life has become, this searching the room with eyes that are failing, this knowledge that you now inhabit a body that is shriveling and a mind that is ever alert, but a mind that lives now only in the past. She tries to think of something else, something kinder than this thing that is her life. Is this a life? But, today, she can think of nothing kind. Kindness has exiled itself from her world.

She is remembering the day her husband died, a perfect morning, the garden bathed in honeysuckles. "I'm going to read the paper," he said as he stepped into the backyard. "And then I'm going to take a nap. And then, who knows, I might just die." He laughed and kissed her as if she were still a girl.

He did read the newspaper.

He did take a nap.

He did die.

It was she who found him. She sees herself trying to wake him. She sees the smile on his face. Bastard, you left me here. I don't forgive you. Oh, today let me die.

Xochil, the only daughter in the house, is twisting and turning in her bed. No rest or peace in her sleep. Like her father, what is left unresolved tracks her down like a wounded animal. She is arguing with herself. She wants this boy. She is yearning to let him love her. She utters his name—Jack—and just as the name slips out of her mouth, she becomes still and quiet.

When she wakes, she will think of this boy, picture his face, his lips, the look of want in his eyes, blue as the sea. She will picture his hands, larger than hers but trembling with the same want that is in her. She will shake her head. No, no, no, no, no. And then she will reach under the bed and take out the picture she keeps as a comfort.

She will stare at the picture. It is not an image of Jack, but a photograph of her and Gustavo and Charlie. They are safe, her brothers, the harbor to which she's tied her boat. She is smiling, Charlie is laughing, and Gustavo is gazing past the camera. She always wonders what Gustavo is looking at. His eyes are staring at a future. That is what she will think to herself. The future. Let it be beautiful. Let it be as beautiful as you.

Gustavo and Charlie are sleeping in the room down the hall.

Gustavo, half asleep, half awake, wonders which he prefers, the sleeping or the waking. He wonders, too, if today is the day the news will arrive. He has been waiting for the news for what seems an eternity. The waiting, the pacing in his mind, the paralysis, the endless litany of cigarettes, the impossibility of escape, the inability to come up with a solution. The waiting is a limbo, the one he swore he did not believe in. Day after day, he hides the apprehension.

Excerpted from Names on a Mapby Benjamin Saenz Copyright © 2008 by Benjamin Saenz. Excerpted by permission.
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