The Freedom of Obscurity

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Darick Allan

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September 1, 2026

The Geography of Zone 22

Long Description:
The image captures a vibrant street scene in the northern section of Zone 3 in Guatemala City, taken in 2004. In the foreground, a bright yellow pickup truck is making a turn at the junction, sitting on a paved, slightly worn road. Two women are seen walking away from the camera, with their backs turned; one has long black hair and is wearing a black shirt and a cap, while the other has blonde hair tied back in a ponytail and is dressed in a dark blue shirt. The street is flanked by two- to three-story buildings in various colors—yellow, turquoise, and peach—showcasing a mix of textures from stucco and brick. Above, utility wires crisscross the sky, indicating the busy nature of the area. Signs in Spanish adorn the buildings, providing glimpses of local businesses. In the background, additional structures are visible, contributing to the urban tapestry of the neighborhood.

Alt-text:
A vibrant street in Guatemala City's Zone 3 featuring a yellow pickup truck, two women walking, and colorful buildings with signs.

Transcribed Text:
Gallo
Brava
Abarrotería — *Northern section of Zone 3, 2004. Photograph by Darick Allan*

When I began writing The Prisoner of Zone 22, I wanted to set the story in a place that doesn’t exist and never will. The planners of Guatemala City once designated a future Zone 22, but the area was eventually outside the final municipal line. There were later sayings that Zone 22 was a place of dreams, or alternately, where you go to die. I have chosen the place of dreams, a geography of the mind.

Long Description:
The image portrays a street scene in Guatemala City from the 1980s, focused on a prominent church tower. The tower features a distinctive architectural design with a flat roof and multiple levels. Each level has a mix of arched and rectangular windows, with the topmost section adorned by a cross. Beneath the tower, the building is painted white and has a balcony with decorative railings. Surrounding the church are commercial buildings, some of which appear older and constructed from wood, suggesting a mix of historical and modern elements. A few pedestrians are visible on the street, and cars are parked along the sides. The overall atmosphere is calm, with power lines crisscrossing the scene against a cloudy sky.

Alt-text:
Street scene in 1980s Guatemala City featuring a white church tower with a cross and surrounding buildings, accompanied by pedestrians and parked cars. — *Church in Zone 3, 1980’s. Photograph by Darick Allan*

But the characteristics of Zone 22 are based in reality. Zone 3, before its decline into a Red Zone, was a lower-middle class neighborhood close to downtown where I had family once. The streets, churches and businesses of the area are models for the story, though they are slightly spruced-up to make Zone 22 more of a professional suburb where a murder would be out of place. Zone 3 also borders a ravine.

The ravine in Zone 22 plays an important role in the life of Captain Javier Ixtlan, my main character. He lived there as a child. His mother died when the earth cracked open during the earthquake of 1976. I was in Zone 3 the night of that disaster. What I saw became part of the book. A crack appeared in the shantytown down the slope in the darkness and whole families fell in. We helped the survivors as best we could. In the rest of the zone houses collapsed inward or outward: many who ran into the street for safety were betrayed by the walls behind them. There were hundreds of bodies in the morning. Hopefully the emotional impact of that experience contributes to the depth of the captain as he navigates the world as a person who lost everything.

Long Description:
The image depicts the Yurrita Church, a prominent architectural structure located in Zone 4 of Guatemala City. The church features a striking combination of colors and ornate design elements. The primary exterior is painted a vivid red, contrasted by intricate white stonework and dark gray accents. The building is characterized by its asymmetrical towers, one topped with a cross, showcasing a pointed silhouette against the sky. Below, ornate balconies with decorative railings can be seen, as well as arched windows with detailed moldings. Surrounding the church are leaves from nearby trees, framing the structure and adding depth to the foreground. The sky is partly cloudy, with blue peeking through, highlighting the church's distinctive features.

Alt-text:
Yurrita Church in Guatemala City, featuring a vivid red exterior, ornate towers, and decorative balconies against a partly cloudy sky. — *The Yurrita Church, Zone 4. Photograph by Darick Allan*

As Captain Ixtlan investigates different aspects of the murder case, he travels through parts of Guatemala City that are real or imagined. The Parque Central of Zone 1, the Yurrita Church in Zone 4, La Ruta Maya, a pyramid-nightclub in the heart of the Zona Viva. Eadweard Muybridge photographed the Parque Central in the 19^th century when Guatemala was an elegant, quiet city. The Yurrita Church, perhaps the most beautiful in the country, was built by a wealthy man after surviving a volcanic eruption in 1902—his prayers were answered. It long ago passed out of the family’s hands. And La Ruta Maya does not exist but might as well. It is a kind of homage by the wealthy elite to the genius of the people they conquered.

Long Description:
The image depicts the Mayan pyramid at Tikal in Guatemala, a towering structure set against a bright sky. The pyramid has a steep, stepped facade with distinct tiers leading up to the top, which features a flat summit. The stonework is a combination of light gray and dark weathered surfaces, highlighting its ancient construction. Surrounding the pyramid are lush green trees, framing the structure and adding depth to the scene. A small figure stands at the base of the pyramid, providing a sense of scale to the impressive architecture.

Alt-text:
Mayan pyramid at Tikal, Guatemala, surrounded by trees, featuring steep stone steps and a flat summit. — *Mayan pyramid at Tikal. photograph by Darick Allan*

I walked the length of Guatemala City for years. Decades ago I came across a homeless man asleep one morning on an elevated sidewalk by Sexta Avenida. I never forgot him. Who was he? Who was his mother? Everyone has a mother. My experiences helped form the impressions of Javier Ixtlan, himself an outsider, orphan, member of the dispossessed. His travels through the city and Zone 22 seeking justice, trying to protect a woman hiding a list of secret crimes. They are crimes against people and crimes of history. Captain Ixtlan rises to the occasion as best he can. Zone 22 may not exist, but it is still a place of memory and reckoning.

Long Description:
The image captures a scene from the 1980s on Sexta Avenida in Zone 4 of Guatemala City. In the foreground, a homeless man is curled up on a concrete sidewalk, his body partially obscured by a blanket. The background features a busy street filled with vehicles, including a prominent bus labeled “10” and various cars. The street is lined with trees, and commercial signage can be seen in the distance, suggesting a bustling urban environment. The photograph is presented in black and white, adding a layer of historical context and emphasizing the stark contrast between the subject and the surroundings.

Alt-text:
A homeless man curled up on a sidewalk in Guatemala City during the 1980s, with a busy street and vehicles visible in the background. — *Homeless man on Sexta Avenida, Zone 4, 1980’s. Photograph by Darick Allan*

The Prisoner of Zone 22

The Geography of Zone 22

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