Cruz

Translated by Mallory Craig-Kuhn
$16.95 US
Soho Press | Soho Crime
32 per carton
On sale Nov 14, 2023 | 9781641295291
Sales rights: World

See Additional Formats
Set in northern Argentina, the gorgeous and gruesome story of two brothers following in their criminal father’s footsteps in a bloody battle to save their family from drug lords, perfect for fans of Don Winslow and Narcos.

Tomás Cruz swore he would never be like his father, an abusive cocaine junkie whose gangland exploits are notorious throughout the underbelly of northern Argentina. When Samuel Cruz is sentenced to thirteen years in prison, he leaves a laundry list of unfinished cartel business. Seba, Tomás’s revered older brother, has no choice but to abandon his straight life and take over his father’s underworld debt.

Now fifteen years has passed, Seba has been arrested, and the ruthless cartel boss is holding his wife and daughter as collateral—just in time for the holidays. Tomás is forced to choose between protecting his family and his soul as he assumes the to-do list where Seba left off, plunging into the shocking depravity of the cartel to track a drug deal gone wrong. On a bloody quest for underworld justice that will take him from a nightmarish bar staffed by teenage sex slaves to the murky depths of the Paran River, Tomás discovers himself capable of violence he never thought possible. He must ask himself if he really is his father’s son . . . and he may not like the answer.

Argentinian noir wunderkind Nicolás Ferraro’s first novel to be translated into English, Cruz was a finalist for the prestigious Dashiell Hammett Award for Best Crime Novel.
1.
 
The last name is a hereditary disease.
     Dad’s brown eyes and black hair weren’t his only gifts to us.
     He passed down his demons, too.
     It took me a long time to realize that the most important things you inherit can’t be packed away in a box.
     Or in a coffin.
     I had a friend whose father blew his own brains out with a sawed-off. The blood splashed halfway across the wall. It went from red to burgundy, and finally black. My friend didn’t know what to do about it. It took him a month to decide to clean the wall. He washed off what he could. The buckshot had buried bits of brain and bone in the pocked cement. My friend scrubbed and scrubbed. He scraped. The brick made it hard for him to know where his dad began and ended. He finally knocked the wall down and put up a new one. Even so, he still goes with his bucket and rag every week to clean it. And he scrubs and scrubs until it’s his fingers that bleed on the bricks.
     I didn’t know what to do with the stuff my old man left me, either. I didn’t know how to get rid of it.
     Most of it was packed up in boxes for almost fifteen years, piled up in a room in the house that used to be his. A house I’ve been living in since last summer. Since the first day I moved in, I go to bed every night telling myself that I have to throw his shit out. The answer’s always the same: one of these days.
     I take out a box filled with my family’s rotting remains and set it down next to the other five that are waiting on the sidewalk. A grey dog comes over and sniffs at it. He barks, wanting something from me. Not all skeletons are made of bones. That’s what I’d tell him if he could understand. He lifts his leg, pisses on the boxes, and trots off wagging his tail.
     The last rays of sunlight glow on the dust that floats in the living room and sticks to my sweaty skin. I pull my shirt up from my waist and wipe my face. I let out a long breath, looking at all the work still ahead of me.
     In my old man’s room, a lamp with more fly shit than wattage shines on boxes stacked together like Tetris blocks. The smell hits me in the face as I enter. I shove a box away from the wall with my leg. A few bugs scatter before burrowing deeper into the pile. I stack two boxes and carry them out together. My fingers sink into the cardboard, soggy from the humidity. I manage to set them down with the rest before they come apart completely in my hands.
     I should have just burned everything.
     On the table is a glass of ice water that turned into warm broth half an hour ago. I pour it on a fern, though it’s more in need of a miracle than a watering. I get myself another glass of water and stick my head under the tap before going back to the living room.
     It’s like there’s a mirror between the open doors of the two bedrooms. In mine, boxes that have been collecting dust since I arrived from Buenos Aires, that I’ll unpack one of these days. I always think I won’t be here much longer, that someone’s going to take away the For Sale sign in front of the house.
     I drain the glass and get back to work. I take another four boxes out, but the room looks as full as ever. A few doors down, Christmas lights come on and illuminate the front of the house like a shopping mall. In the distance, two more houses blink on and splash color on a girl in a dress and a backpack passing by on her bike. The reflectors in the road shine with the headlights of the Regatta pulling into the garage in front of the house to the left. A guy with a mustache gets out and waves to his neighbor on the other side, who’s out watering his garden. He’s got all kinds of plants. Red ones. Yellow ones. Purple ones. I should ask him if he has any ideas for my fern. Or just haul it out and leave it with all the other garbage, the cherry on top. They chat for a minute and say goodbye with a smile. The one with the mustache walks by me and waves. He doesn’t even say anything about the weather. No “It’s a hot one today” or “We sure could do with some rain.” I don’t even know what his name is.
     I’m still surprised by how much is left in the bedroom. Next to the door, there’s one solitary box. The last one of the day, I tell myself. This one’s heavier than the others. A rotten smell comes out of the hole in the middle and puffs in my face with each step. The box crumbles like a sand castle. I leave it with the others. Three steps later, my foot lands in dog shit. I rub my eyebrows. I fill my lungs. I empty them. The phone rings. Once. Twice. Fuck whoever it is. Three times. It might be my brother. I take off my sneakers and leave them at the door. By the time I make it to the phone, the answering machine has come on: Viviana, my sister-in-law. I pick up.
     “Do you know where your brother is?” is her third question.
     “I don’t know any more than you do.”
     “Yesterday he called and said he might swing by your place before he came home. He wanted to see you.”
     “No idea. I haven’t talked to Seba in a couple days.”
     Silence.
     “Your niece is asking if we’re going to see you before Christmas Eve.”
     “Tell him to come, Mom.” I can hear Violeta’s high-pitched voice in the background.
     “Come over and we’ll order some food.”
     Why? We’re just going to stare at each other, playing a chess game of silences to cover up the questions we’re afraid to ask ourselves. Violeta keeps talking.
     “Hang on, Lelé,” my sister-in-law says. “Okay . . . I’m going to give the phone to this little nag . . .”
     “I don’t have time. I’m in the middle of something I want to finish.”
     “What are you doing?”
     “Taking out the trash.”
     Viviana snorts. “Did you open up the back bedroom?” she says. “You’re supposed to rest during Christmas vacation, hon. And Seba freed you up from the bar for a couple of days so you could go to Buenos Aires, not sit home and play archaeologist.”
     More silence. I switch the phone to the other ear. The answering machine has six new messages, even though I was here when they were recorded. They all say pretty much the same thing.
     “She called me the other day,” Viviana says. “She’s worried. She says she calls you and you don’t pick up. I told her to come for the holidays because if we leave it up to you . . .”
     “Let me take care of my own business.”
     A bug crawls up my arm and I flick it off. Out the window I see two kids looking at the boxes. One is dragging a cart and eyes my sneakers.
     “Tomás . . .” says Viviana.
     “What?”
     “Stop dicking around and call Alina.”
     “If I hear from Seba I’ll let you know,” I say before she can launch into her sermon and I lose my sneakers.
     When I get outside, my shoes are still there. The kids are hovering over the boxes. A few photos slip out between the wires of the cart and fall on the red dirt. They’re only going to get a few coins for that whole pile of paper.
     It’s the first time in years my old man’s memories have been worth anything.
     They see me. One of them taps the other on the shoulder and they stop rummaging.
     “Take everything,” I say, but they’re already hurrying off.
     I pick up a photo without looking at it and use it to scrape the shit off my shoe, then throw it back. The wind picks it up and makes it flutter. A couple of grey clouds take bites out of the moon in a pink sky. Night comes early.
     I sit on one of the lawn chairs around the living room table. The blinking number six is my only light. It’s the closest thing I’ll have to Christmas lights this year, and the closest thing to company.
     I’ll call Alina one of these days.
     I look for a beer. In the fridge is a container of mustard, a shriveled head of lettuce, and a rock that used to be bread. I get another glass of water and drink half of it without taking a breath. The fern hasn’t perked up. I go over and give it some more water. The garbage truck comes by and picks up the boxes. I feel better.
     A shower washes away the sweat and bad mood. For a little while, anyway. Half an hour later, I’m lying in bed sweating like a pig again. I try to watch a movie, but my eyes keep drifting over to the back bedroom and the pile of boxes. I can’t even get into Back to the Future. I start to nod off. Marty’s mom wants to get a look at his package. Boxes. I blink. George McFly finds his balls and beats up the bully. More boxes. I blink. The Doc meets himself. What ever happened to that guy? It must be pretty fucked up to meet yourself. I can’t see the boxes anymore.
     I open my eyes again. A snake is slithering over Salma Hayek’s tits in a rundown whorehouse. Two fifteen on the clock. The same red six blinks on the answering machine. Where’s Seba? What did he want to tell me?
     I close my eyes. I can’t get back to sleep. I turn my back to the door and face my own boxes. What am I going to do with these?
     I wish I had to wash a stain off the wall.
     The red number six keeps flashing at me. It might never become a seven if I don’t do something. I reach out and pick up the cordless phone. I dial the area code for Buenos Aires. The dial tone buzzes. 4957 . . . I take a breath. The sheets stick to my skin. I hang up and exhale.
     I don’t even know what the hell to do with a few boxes, much less with her and her questions.
     One of these days . . . One of these days is another way of saying never.
     I stare at a map of water stains on the ceiling. A piece of plaster is hanging from a spiderweb. A mosquito whines in my ear. A car parks outside. I don’t recognize the sound of the motor. It’s not my brother’s truck. And it isn’t my sister-in-law’s Mondeo, either. It could be a local taxi. A flash of blue light paints the ceiling and tells me it isn’t. There’s a knock at the door. When I open up, a grey-haired cop takes a step back to let me see the Misiones Police crest on his car. His partner is leaning on the hood with his right hand on his gun.
     “Tomás Cruz,” says the cop at my door. His nametag says Barrios.
     “Whatever that old piece of shit did, I don’t care. This time, lock him up and give him life.”
     “Relax, kid,” he says, giving me a smile. “It’s not your old man this time.”
Praise for Cruz

An NPR Best Book of 2022
The Best International Crime Fiction of Fall 2022


“Cruz
boldly examines the propensity for violent upheaval in the patriarchal and retaliatory system of cartels in northern Argentina. Such systems often mirror the corrupt and tyrannical political systems with which they work hand in hand. But Ferraro also portrays the personal moral rot that such systems create even in those well intentioned not to participate.”
—Oprah Daily
 
“A vivid, bloody noir set amidst prison and gangland violence in northern Argentina, where two brothers swear themselves to different paths and wrestle with their father’s violent legacy.”
CrimeReads

“Ferraro's portrait of a crushingly bleak hellscape where “hope and torture are the same word” is unremittingly violent, but he writes about that world with unabashed realism, breathtaking power, and a narrative ferocity that never lets up.”
Booklist, Starred Review

“Written with a relentless pace, Cruz explores the ferocity of family loyalty and treachery. This is a window into a world most people don’t know and no one will forget.”
—Chris Offutt, author of Shifty’s Boys

“Ferraro’s Cruz is like an exquisitely crafted blade, beautiful to the eye but deadly effective.” 
—Reed Farrel Coleman, New York Times bestselling author of Sleepless City

“With a unique and savage talent, Ferraro shapes the darkest horrors of depravity into an engaging plot with a stunning climax. Cruz, a cunning bildungsroman of evil, entices the reader into murderous collusion with young Tomás, and the emotional impact resonates long after the final twist.”
—Vicki Hendricks, author of Cruel Poetry

“Nicolás Ferraro is the kind of writer who understands how to use blood to tattoo a story on your soul. Cruz is a grimy, gritty, hyperviolent novel about debts, loyalty, and bad decisions that’s as fast and brutal as a prison shanking, and you'll love every minute of it. Cruz says ‘I love you’ with its middle finger. Don’t miss it.”
—Gabino Iglesias, author of Coyote Songs

“As cold and shocking as a gun barrel against your neck, Cruz is about the blood you share with family, and the blood you spill because of it, set in the savage underbelly of Argentina. A darkly fun, fast-paced and compulsively readable noir thriller.”
—Jordan Harper, Edgar Award–winning author of She Rides Shotgun

“After seventy years of voracious and omnivorous reading, finding a new writer remains a great pleasure, especially one who honors tradition while speaking clearly, even beautifully, in a voice all his or her own. Nico Ferraro is one of those writers.”
—James Sallis, author of Drive and the Lew Griffin series

“The triple frontier, so sharp and treacherous. Nicolás Ferraro’s prose in this magnificent novel is metallic and brief, and it makes the sound that death would make if it were close. This young author introduces a new language into crime fiction. A border language.”
—Gabriela Cabezón Cámara, author of The Adventures of China Iron, shortlisted for the 2020 International Booker Prize
 
“This novel is a lens to hell. There are no good souls, not even Tomás’s. And if there are, they don’t last long, as they are lost in a labyrinth of narcos, pimps, and corrupt commissioners. Morals, here, adjust to what is convenient, to what is needed, to the opportunity to save one’s skin.”
—Horacio Convertini
 
“Cruz is a legacy of pain and death, full of hammering poetry. Nicolás Ferraro is the best Argentinian writer from his generation: he captures you from the inside and devastates you from the outside.”
—Claudio Cerdán
 
“I haven’t read anything so tough since Don Winslow’s The Power of the Dog. Cruz is a great novel about smuggling, honor, loyalty, duty and violence, well-deserve nominee this year for the Hammett award from La Semana Negra de Gijón.”
—Rodolfo Santullo
 
Cruz is a Don Winslow book, but with more soul and melancholy.”
—Giorgio Ballario

"A lover of the genre like few others, an excellent reader and a great conversationalist, Ferraro knows what he is doing and from the first moment he offers a book with these ingredients: violence, cross loyalties, internal conflicts and a good dose of action."
—Juan Carlos Galindo, El Pais

"Cruz is a magnificent noir novel with highly elevated action but also integrates a lot of depth to make the reader reflect. . . . The plot is magnificent, very measured and with perfectly studied twists. And a final blow that is the perfect finishing touch to a hard and stark novel."
—Marta Marne, Leer Sin Prisa

"Nicolás Ferraro is not only one of the brightest voices of noir that is coming to us from Argentina, but a kind of brilliant and even more explicit Peckinpah."
—Diego Ameixeiras, El Salto

"Cruz is a novel that is the daughter of its time, where the police genre and the noir genre regain their lost place, taking advantage of a political and social context that makes the lines between fiction and reality blurred, almost causing the emergence of a hyperrealism in literature."
Gustavo Yuste, La Primera Piedra


"Cruz
is a story of criminals, but its complexity is given by its modest but dignified exploration of the relationships between siblings and between parents and children."
Nora de la Cruz, Casa del Tiempo

"Ferraro's style runs on well-designed rails to take the reader by the hand and drag them down the path of violence."
—Óscar Alarcón, El Popular

About

Set in northern Argentina, the gorgeous and gruesome story of two brothers following in their criminal father’s footsteps in a bloody battle to save their family from drug lords, perfect for fans of Don Winslow and Narcos.

Tomás Cruz swore he would never be like his father, an abusive cocaine junkie whose gangland exploits are notorious throughout the underbelly of northern Argentina. When Samuel Cruz is sentenced to thirteen years in prison, he leaves a laundry list of unfinished cartel business. Seba, Tomás’s revered older brother, has no choice but to abandon his straight life and take over his father’s underworld debt.

Now fifteen years has passed, Seba has been arrested, and the ruthless cartel boss is holding his wife and daughter as collateral—just in time for the holidays. Tomás is forced to choose between protecting his family and his soul as he assumes the to-do list where Seba left off, plunging into the shocking depravity of the cartel to track a drug deal gone wrong. On a bloody quest for underworld justice that will take him from a nightmarish bar staffed by teenage sex slaves to the murky depths of the Paran River, Tomás discovers himself capable of violence he never thought possible. He must ask himself if he really is his father’s son . . . and he may not like the answer.

Argentinian noir wunderkind Nicolás Ferraro’s first novel to be translated into English, Cruz was a finalist for the prestigious Dashiell Hammett Award for Best Crime Novel.

Excerpt

1.
 
The last name is a hereditary disease.
     Dad’s brown eyes and black hair weren’t his only gifts to us.
     He passed down his demons, too.
     It took me a long time to realize that the most important things you inherit can’t be packed away in a box.
     Or in a coffin.
     I had a friend whose father blew his own brains out with a sawed-off. The blood splashed halfway across the wall. It went from red to burgundy, and finally black. My friend didn’t know what to do about it. It took him a month to decide to clean the wall. He washed off what he could. The buckshot had buried bits of brain and bone in the pocked cement. My friend scrubbed and scrubbed. He scraped. The brick made it hard for him to know where his dad began and ended. He finally knocked the wall down and put up a new one. Even so, he still goes with his bucket and rag every week to clean it. And he scrubs and scrubs until it’s his fingers that bleed on the bricks.
     I didn’t know what to do with the stuff my old man left me, either. I didn’t know how to get rid of it.
     Most of it was packed up in boxes for almost fifteen years, piled up in a room in the house that used to be his. A house I’ve been living in since last summer. Since the first day I moved in, I go to bed every night telling myself that I have to throw his shit out. The answer’s always the same: one of these days.
     I take out a box filled with my family’s rotting remains and set it down next to the other five that are waiting on the sidewalk. A grey dog comes over and sniffs at it. He barks, wanting something from me. Not all skeletons are made of bones. That’s what I’d tell him if he could understand. He lifts his leg, pisses on the boxes, and trots off wagging his tail.
     The last rays of sunlight glow on the dust that floats in the living room and sticks to my sweaty skin. I pull my shirt up from my waist and wipe my face. I let out a long breath, looking at all the work still ahead of me.
     In my old man’s room, a lamp with more fly shit than wattage shines on boxes stacked together like Tetris blocks. The smell hits me in the face as I enter. I shove a box away from the wall with my leg. A few bugs scatter before burrowing deeper into the pile. I stack two boxes and carry them out together. My fingers sink into the cardboard, soggy from the humidity. I manage to set them down with the rest before they come apart completely in my hands.
     I should have just burned everything.
     On the table is a glass of ice water that turned into warm broth half an hour ago. I pour it on a fern, though it’s more in need of a miracle than a watering. I get myself another glass of water and stick my head under the tap before going back to the living room.
     It’s like there’s a mirror between the open doors of the two bedrooms. In mine, boxes that have been collecting dust since I arrived from Buenos Aires, that I’ll unpack one of these days. I always think I won’t be here much longer, that someone’s going to take away the For Sale sign in front of the house.
     I drain the glass and get back to work. I take another four boxes out, but the room looks as full as ever. A few doors down, Christmas lights come on and illuminate the front of the house like a shopping mall. In the distance, two more houses blink on and splash color on a girl in a dress and a backpack passing by on her bike. The reflectors in the road shine with the headlights of the Regatta pulling into the garage in front of the house to the left. A guy with a mustache gets out and waves to his neighbor on the other side, who’s out watering his garden. He’s got all kinds of plants. Red ones. Yellow ones. Purple ones. I should ask him if he has any ideas for my fern. Or just haul it out and leave it with all the other garbage, the cherry on top. They chat for a minute and say goodbye with a smile. The one with the mustache walks by me and waves. He doesn’t even say anything about the weather. No “It’s a hot one today” or “We sure could do with some rain.” I don’t even know what his name is.
     I’m still surprised by how much is left in the bedroom. Next to the door, there’s one solitary box. The last one of the day, I tell myself. This one’s heavier than the others. A rotten smell comes out of the hole in the middle and puffs in my face with each step. The box crumbles like a sand castle. I leave it with the others. Three steps later, my foot lands in dog shit. I rub my eyebrows. I fill my lungs. I empty them. The phone rings. Once. Twice. Fuck whoever it is. Three times. It might be my brother. I take off my sneakers and leave them at the door. By the time I make it to the phone, the answering machine has come on: Viviana, my sister-in-law. I pick up.
     “Do you know where your brother is?” is her third question.
     “I don’t know any more than you do.”
     “Yesterday he called and said he might swing by your place before he came home. He wanted to see you.”
     “No idea. I haven’t talked to Seba in a couple days.”
     Silence.
     “Your niece is asking if we’re going to see you before Christmas Eve.”
     “Tell him to come, Mom.” I can hear Violeta’s high-pitched voice in the background.
     “Come over and we’ll order some food.”
     Why? We’re just going to stare at each other, playing a chess game of silences to cover up the questions we’re afraid to ask ourselves. Violeta keeps talking.
     “Hang on, Lelé,” my sister-in-law says. “Okay . . . I’m going to give the phone to this little nag . . .”
     “I don’t have time. I’m in the middle of something I want to finish.”
     “What are you doing?”
     “Taking out the trash.”
     Viviana snorts. “Did you open up the back bedroom?” she says. “You’re supposed to rest during Christmas vacation, hon. And Seba freed you up from the bar for a couple of days so you could go to Buenos Aires, not sit home and play archaeologist.”
     More silence. I switch the phone to the other ear. The answering machine has six new messages, even though I was here when they were recorded. They all say pretty much the same thing.
     “She called me the other day,” Viviana says. “She’s worried. She says she calls you and you don’t pick up. I told her to come for the holidays because if we leave it up to you . . .”
     “Let me take care of my own business.”
     A bug crawls up my arm and I flick it off. Out the window I see two kids looking at the boxes. One is dragging a cart and eyes my sneakers.
     “Tomás . . .” says Viviana.
     “What?”
     “Stop dicking around and call Alina.”
     “If I hear from Seba I’ll let you know,” I say before she can launch into her sermon and I lose my sneakers.
     When I get outside, my shoes are still there. The kids are hovering over the boxes. A few photos slip out between the wires of the cart and fall on the red dirt. They’re only going to get a few coins for that whole pile of paper.
     It’s the first time in years my old man’s memories have been worth anything.
     They see me. One of them taps the other on the shoulder and they stop rummaging.
     “Take everything,” I say, but they’re already hurrying off.
     I pick up a photo without looking at it and use it to scrape the shit off my shoe, then throw it back. The wind picks it up and makes it flutter. A couple of grey clouds take bites out of the moon in a pink sky. Night comes early.
     I sit on one of the lawn chairs around the living room table. The blinking number six is my only light. It’s the closest thing I’ll have to Christmas lights this year, and the closest thing to company.
     I’ll call Alina one of these days.
     I look for a beer. In the fridge is a container of mustard, a shriveled head of lettuce, and a rock that used to be bread. I get another glass of water and drink half of it without taking a breath. The fern hasn’t perked up. I go over and give it some more water. The garbage truck comes by and picks up the boxes. I feel better.
     A shower washes away the sweat and bad mood. For a little while, anyway. Half an hour later, I’m lying in bed sweating like a pig again. I try to watch a movie, but my eyes keep drifting over to the back bedroom and the pile of boxes. I can’t even get into Back to the Future. I start to nod off. Marty’s mom wants to get a look at his package. Boxes. I blink. George McFly finds his balls and beats up the bully. More boxes. I blink. The Doc meets himself. What ever happened to that guy? It must be pretty fucked up to meet yourself. I can’t see the boxes anymore.
     I open my eyes again. A snake is slithering over Salma Hayek’s tits in a rundown whorehouse. Two fifteen on the clock. The same red six blinks on the answering machine. Where’s Seba? What did he want to tell me?
     I close my eyes. I can’t get back to sleep. I turn my back to the door and face my own boxes. What am I going to do with these?
     I wish I had to wash a stain off the wall.
     The red number six keeps flashing at me. It might never become a seven if I don’t do something. I reach out and pick up the cordless phone. I dial the area code for Buenos Aires. The dial tone buzzes. 4957 . . . I take a breath. The sheets stick to my skin. I hang up and exhale.
     I don’t even know what the hell to do with a few boxes, much less with her and her questions.
     One of these days . . . One of these days is another way of saying never.
     I stare at a map of water stains on the ceiling. A piece of plaster is hanging from a spiderweb. A mosquito whines in my ear. A car parks outside. I don’t recognize the sound of the motor. It’s not my brother’s truck. And it isn’t my sister-in-law’s Mondeo, either. It could be a local taxi. A flash of blue light paints the ceiling and tells me it isn’t. There’s a knock at the door. When I open up, a grey-haired cop takes a step back to let me see the Misiones Police crest on his car. His partner is leaning on the hood with his right hand on his gun.
     “Tomás Cruz,” says the cop at my door. His nametag says Barrios.
     “Whatever that old piece of shit did, I don’t care. This time, lock him up and give him life.”
     “Relax, kid,” he says, giving me a smile. “It’s not your old man this time.”

Praise

Praise for Cruz

An NPR Best Book of 2022
The Best International Crime Fiction of Fall 2022


“Cruz
boldly examines the propensity for violent upheaval in the patriarchal and retaliatory system of cartels in northern Argentina. Such systems often mirror the corrupt and tyrannical political systems with which they work hand in hand. But Ferraro also portrays the personal moral rot that such systems create even in those well intentioned not to participate.”
—Oprah Daily
 
“A vivid, bloody noir set amidst prison and gangland violence in northern Argentina, where two brothers swear themselves to different paths and wrestle with their father’s violent legacy.”
CrimeReads

“Ferraro's portrait of a crushingly bleak hellscape where “hope and torture are the same word” is unremittingly violent, but he writes about that world with unabashed realism, breathtaking power, and a narrative ferocity that never lets up.”
Booklist, Starred Review

“Written with a relentless pace, Cruz explores the ferocity of family loyalty and treachery. This is a window into a world most people don’t know and no one will forget.”
—Chris Offutt, author of Shifty’s Boys

“Ferraro’s Cruz is like an exquisitely crafted blade, beautiful to the eye but deadly effective.” 
—Reed Farrel Coleman, New York Times bestselling author of Sleepless City

“With a unique and savage talent, Ferraro shapes the darkest horrors of depravity into an engaging plot with a stunning climax. Cruz, a cunning bildungsroman of evil, entices the reader into murderous collusion with young Tomás, and the emotional impact resonates long after the final twist.”
—Vicki Hendricks, author of Cruel Poetry

“Nicolás Ferraro is the kind of writer who understands how to use blood to tattoo a story on your soul. Cruz is a grimy, gritty, hyperviolent novel about debts, loyalty, and bad decisions that’s as fast and brutal as a prison shanking, and you'll love every minute of it. Cruz says ‘I love you’ with its middle finger. Don’t miss it.”
—Gabino Iglesias, author of Coyote Songs

“As cold and shocking as a gun barrel against your neck, Cruz is about the blood you share with family, and the blood you spill because of it, set in the savage underbelly of Argentina. A darkly fun, fast-paced and compulsively readable noir thriller.”
—Jordan Harper, Edgar Award–winning author of She Rides Shotgun

“After seventy years of voracious and omnivorous reading, finding a new writer remains a great pleasure, especially one who honors tradition while speaking clearly, even beautifully, in a voice all his or her own. Nico Ferraro is one of those writers.”
—James Sallis, author of Drive and the Lew Griffin series

“The triple frontier, so sharp and treacherous. Nicolás Ferraro’s prose in this magnificent novel is metallic and brief, and it makes the sound that death would make if it were close. This young author introduces a new language into crime fiction. A border language.”
—Gabriela Cabezón Cámara, author of The Adventures of China Iron, shortlisted for the 2020 International Booker Prize
 
“This novel is a lens to hell. There are no good souls, not even Tomás’s. And if there are, they don’t last long, as they are lost in a labyrinth of narcos, pimps, and corrupt commissioners. Morals, here, adjust to what is convenient, to what is needed, to the opportunity to save one’s skin.”
—Horacio Convertini
 
“Cruz is a legacy of pain and death, full of hammering poetry. Nicolás Ferraro is the best Argentinian writer from his generation: he captures you from the inside and devastates you from the outside.”
—Claudio Cerdán
 
“I haven’t read anything so tough since Don Winslow’s The Power of the Dog. Cruz is a great novel about smuggling, honor, loyalty, duty and violence, well-deserve nominee this year for the Hammett award from La Semana Negra de Gijón.”
—Rodolfo Santullo
 
Cruz is a Don Winslow book, but with more soul and melancholy.”
—Giorgio Ballario

"A lover of the genre like few others, an excellent reader and a great conversationalist, Ferraro knows what he is doing and from the first moment he offers a book with these ingredients: violence, cross loyalties, internal conflicts and a good dose of action."
—Juan Carlos Galindo, El Pais

"Cruz is a magnificent noir novel with highly elevated action but also integrates a lot of depth to make the reader reflect. . . . The plot is magnificent, very measured and with perfectly studied twists. And a final blow that is the perfect finishing touch to a hard and stark novel."
—Marta Marne, Leer Sin Prisa

"Nicolás Ferraro is not only one of the brightest voices of noir that is coming to us from Argentina, but a kind of brilliant and even more explicit Peckinpah."
—Diego Ameixeiras, El Salto

"Cruz is a novel that is the daughter of its time, where the police genre and the noir genre regain their lost place, taking advantage of a political and social context that makes the lines between fiction and reality blurred, almost causing the emergence of a hyperrealism in literature."
Gustavo Yuste, La Primera Piedra


"Cruz
is a story of criminals, but its complexity is given by its modest but dignified exploration of the relationships between siblings and between parents and children."
Nora de la Cruz, Casa del Tiempo

"Ferraro's style runs on well-designed rails to take the reader by the hand and drag them down the path of violence."
—Óscar Alarcón, El Popular