legs. And in front of these children, the police flipped the body, and the man’s destroyed face stared up into the deep black sky.
Orlin, his face caught in the camera’s brightness, stood before the body and delivered his lines, repeated a thousand times before. And the image on the video screen showed him, the whiteness of the light hard contrasting with the sulphur-tinted streets, like a broken angel. Luminescent. Then the camera’s light went out, and Orlin turned and took one more photo with his phone, and another crumpled face of death was captured.
When they finally put the dead man into a long, rustling black bag, the crowd grew bored and drifted away: the show was over. And the police tipped the body into the back of the forensic truck and then they too left; and all that remained were patches of sticky, coagulating blood, thick on the ground.
Orlin walked back to his vehicle. I caught a glimpse of his face lit in the reflection of his phone. He was looking to see if any more murders had been called in that night. And so it goes, I thought. The endless hunger for death in these streets never sated – one that totally consumed this slight, sad-faced man. I climbed back into the car and we drove away.
The low barbed-wire-rimmed walls of the district flickered beyond the window. And the silent homes of the people of San Pedro, with their contained patches of blue electricity, began to thin out, until all that was left were the spotlights of the car and the silence, and the yellow streets in the rear window diminished into the night.
The coffins attached to the wall are the pricier ones, Daisy Quinteros explained to me the next day, pointing to the far end of the funeral parlour shop.
‘The most expensive is 54,000 lempiras,’ she said, smiling – just shy of $3,000. She was a good saleswoman and dressed appropriately for this sad room: motherly. Her hair was flecked with lines of white, and her trousers a smart grey that strained slightly around her hips. She wore a tastefully embroidered white shirt. The look clearly worked – she sold about three coffins a week, getting a commission from each. She once earned over a thousand US dollars in just one month, she said.
We were overlooking a street lined with funeral homes. The kerbs were filled with solemn cars, and beside them pine trees cast spots of shadow onto the baked pavement. One of the funeral-home owners had planted white, almost translucent, orchids in pots leading up one stairway; and all around the entrances and pavements were swept clean. Unlike other parts of the city, this area was free of graffiti. This street looked the richest of them all.
I had come here to see one more community impacted by the gun – to look at the art of the undertaker. In San Pedro you did not have to travel far to meet one.
Daisy beckoned me to sit down at the glass table in the centre of the showroom. Unusually around here, she had not lost anyone personally to the violence. That was not to say that it had not affected her; the suddenness, the shock of death coming unexpectedly, these were the things that still disconcerted her.
‘You can see it in the eyes of the family members,’ she said, and leaned forwards and touched my arm; 90 per cent of her clients had died violently.
‘It’s not all bad, though. The other day we buried this old man. He was 102. No one lives that long here.’ And she smiled a thin smile, because she knew this wasn’t what I was here to write about.
I asked her if earning a living from the violence bothered her.
‘Well, we’ve been here twenty-one years. We provide a service – we are a necessity. I don’t think our business is taking advantage at all. What would they do without us?’ She talked quickly and without pause, her moving hands covered in gold rings. ‘Everyone is going to need this service some day.’ She pushed a folder towards me. It was filled with images of coffins and garlands, plaques and headstones: a catalogue of death.
‘So – how would you like to be buried?’ I asked, and through the tinted windows you could see a chain of cars pass slowly outside. Another cortège. Another profit line reached.
‘I’d like a mid-range coffin. I’ve already bought it.’ She flicked though the laminated sheets and pointed to the one she had in mind. It was modest, and beside it was a list of measurements. People are getting fatter, she said, now you have coffins in XXXL. But they only come in a set height, so with a 6ft 2in. man like me they would have to do something to reduce my leg size. She didn’t elaborate, and I imagined someone shortening me with a hacksaw on a metal gurney.
Daisy seemed the happiest of all the people I had met so far in this city. Perhaps her job was meaningful in a way others were not. She still had contact with the living – even if they were suffused with grief. Other professionals I had met in San Pedro, like Orlin, had jobs that focused on the bodies delivered by the carnage. But Daisy dealt with those with breath still in their lungs. She had to be professional and sympathetic, not least to help families navigate their way through the layered choices presented to them in her laminated folders.
Later, I sat down with Daisy’s hidden counterparts: three embalmers who were brothers. They were in their fifties and had the same triangular and light-brown features. One had lived in the US for many years, and the good living had bloated him to twice the size of the others, but they all had the same eyes. Eyes that had seen things get steadily worse over the last five years: ‘Once we buried five people from the same family, all dead from guns,’ one said. ‘We prepare far too many teenagers for the ground,’ his brother added, and the three nodded in unison, like priests. ‘Many are just fourteen years old,’ the third said.
Their skill stretched back to their grandfather, ninety years before. It wasn’t like it was now, not back then. But theirs was the oldest outfit in Honduras, and they were still working hard; on average they prepared thirty bodies a week. The preparation took place out in the back, away from the light of the shop front.
They led the way. Past a line of neat walnut-coloured coffins, through heavy swinging doors and out to a room that looked like a cheap operating theatre with a metal trolley at its centre. But here there were no machines to monitor life: just things to mimic it.
To the side was a kitchen tray bearing lines of mascara, rouge, lipstick in neat, ordered rows. In this Catholic country, the casket was often left open at the funeral. People wanted to file past to bid farewell; death was so often sudden and unexpected many things left unsaid had still to be said. So these brothers worked to make sure that the bodies looked peaceful. They erased the look of terror imprinted on lifeless faces. They brought back the illusion of serenity – peaceful resurrection with a make-up bag.
The eldest, Arnold Mena, a softly spoken man in a crisp white shirt and a lined jacket, was so good at what he did that it wasn’t an issue if you’d been shot in the face. ‘One shot, two shots, three shots – as long as the bullets don’t destroy the face – you can just stitch up the entry hole and cover it with foundation.’
‘Here they use smaller-calibre guns, and that doesn’t break the face so much,’ Arnold said. ‘But if the skull is totally destroyed . . . we have to use a small football to keep the shape.’
He explained how they use small prosthetic eyeballs too, but then they have to keep the eyelids closed and fix small pins to keep it all in place.
‘The real challenge,’ he told me, ‘was when we do not have a photo and do not know what the victim looked like. Then you have to be a little creative.’
They did other things here, too. In that stark room, beside a metal table with an ugly drainage hole for the dripping fluids, stood rows of formaldehyde
