The most dangerous job

O NE NIGHT I VISIT a slaughterhouse somewhere in the High Plains. The slaughterhouse is one of the nation’s largest. About five thousand head of cattle enter it every day, single file, and leave in a different form. Someone who has access to the plant, who’s upset by its working conditions, offers to give me a tour. The slaughterhouse is an immense building, gray and square, about three stories high, with no windows on the front and no architectural clues to what’s happening inside. My friend gives me a chain‑mail apron and gloves, suggesting I try them on. Workers on the line wear about eight pounds of chain mail beneath their white coats, shiny steel armor that covers their hands, wrists, stomach, and back. The chain mail’s designed to protect workers from cutting themselves and from being cut by other workers. But knives somehow manage to get past it. My host hands me some Wellingtons, the kind of knee‑high rubber boots that English gentlemen wear in the countryside. “Tuck your pants into the boots,” he says. “We’ll be walking through some blood.”

I put on a hardhat and climb a stairway. The sounds get louder, factory sounds, the noise of power tools and machinery, bursts of compressed air. We start at the end of the line, the fabricating room. Workers call it “fab.” When we step inside, fab seems familiar: steel catwalks, pipes along the walls, a vast room, a maze of conveyer belts. This could be the Lamb Weston plant in Idaho, except hunks of red meat ride the belts instead of french fries. Some machines assemble cardboard boxes, others vacuum‑seal subprimals of beef in clear plastic. The workers look extremely busy, but there’s nothing unsettling about this part of the plant. You see meat like this all the time in the back of your local supermarket.

The fab room is cooled to about 40 degrees, and as you head up the line, the feel of the place starts to change. The pieces of meat get bigger. Workers – about half of them women, almost all of them young and Latino – slice meat with long slender knives. They stand at a table that’s chest high, grab meat off a conveyer belt, trim away fat, throw meat back on the belt, toss the scraps onto a conveyer belt above them, and then grab more meat, all in a matter of seconds. I’m now struck by how many workers there are, hundreds of them, pressed close together, constantly moving, slicing. You see hardhats, white coats, flashes of steel. Nobody is smiling or chatting, they’re too busy, anxiously trying not to fall behind. An old man walks past me, pushing a blue plastic barrel filled with scraps. A few workers carve the meat with Whizzards, small electric knives that have spinning round blades. The Whizzards look like the Norelco razors that Santa rides in the TV ads. I notice that a few of the women near me are sweating, even though the place is freezing cold.

Sides of beef suspended from an overhead trolley swing toward a group of men. Each worker has a large knife in one hand and a steel hook in the other. They grab the meat with their hooks and attack it fiercely with their knives. As they hack away, using all their strength, grunting, the place suddenly feels different, primordial. The machinery seems beside the point, and what’s going on before me has been going on for thousands of years – the meat, the hook, the knife, men straining to cut more meat.

On the kill floor, what I see no longer unfolds in a logical manner. It’s one strange image after another. A worker with a power saw slices cattle into halves as though they were two‑by‑fours, and then the halves swing by me into the cooler. It feels like a slaughterhouse now. Dozens of cattle, stripped of their skins, dangle on chains from their hind legs. My host stops and asks how I feel, if I want to go any further. This is where some people get sick. I feel fine, determined to see the whole process, the world that’s been deliberately hidden. The kill floor is hot and humid. It stinks of manure. Cattle have a body temperature of about 101 degrees, and there are a lot of them in the room. Carcasses swing so fast along the rail that you have to keep an eye on them constantly, dodge them, watch your step, or one will slam you and throw you onto the bloody concrete floor. It happens to workers all the time.

I see: a man reach inside cattle and pull out their kidneys with his bare hands, then drop the kidneys down a metal chute, over and over again, as each animal passes by him; a stainless steel rack of tongues; Whizzards peeling meat off decapitated heads, picking them almost as clean as the white skulls painted by Georgia O’Keeffe. We wade through blood that’s ankle deep and that pours down drains into huge vats below us. As we approach the start of the line, for the first time I hear the steady pop, pop, pop of live animals being stunned.

Now the cattle suspended above me look just like the cattle I’ve seen on ranches for years, but these ones are upside down swinging on hooks. For a moment, the sight seems unreal; there are so many of them, a herd of them, lifeless. And then I see a few hind legs still kicking, a final reflex action, and the reality comes hard and clear.

For eight and a half hours, a worker called a “sticker” does nothing but stand in a river of blood, being drenched in blood, slitting the neck of a steer every ten seconds or so, severing its carotid artery. He uses a long knife and must hit exactly the right spot to kill the animal humanely. He hits that spot again and again. We walk up a slippery metal stairway and reach a small platform, where the production line begins. A man turns and smiles at me. He wears safety goggles and a hardhat. His face is splattered with gray matter and blood. He is the “knocker,” the man who welcomes cattle to the building. Cattle walk down a narrow chute and pause in front of him, blocked by a gate, and then he shoots them in the head with a captive bolt stunner – a compressed‑air gun attached to the ceiling by a long hose – which fires a steel bolt that knocks the cattle unconscious. The animals keep strolling up, oblivious to what comes next, and he stands over them and shoots. For eight and a half hours, he just shoots. As I stand there, he misses a few times and shoots the same animal twice. As soon as the steer falls, a worker grabs one of its hind legs, shackles it to a chain, and the chain lifts the huge animal into the air.

I watch the knocker knock cattle for a couple of minutes. The animals are powerful and imposing one moment and then gone in an instant, suspended from a rail, ready for carving. A steer slips from its chain, falls to the ground, and gets its head caught in one end of a conveyer belt. The production line stops as workers struggle to free the steer, stunned but alive, from the machinery. I’ve seen enough.

I step out of the building into the cool night air and follow the path that leads cattle into the slaughterhouse. They pass me, driven toward the building by workers with long white sticks that seem to glow in the dark. One steer, perhaps sensing instinctively what the other don’t, turns and tries to run. But workers drive him back to join the rest. The cattle lazily walk single‑file toward the muffled sounds, pop, pop, pop , coming from the open door.

The path has hairpin turns that prevent cattle from seeing what’s in store and keep them relaxed. As the ramp gently slopes upward, the animals may think they’re headed for another truck, another road trip – and they are, in unexpected ways. The ramp widens as it reaches ground level and then leads to a large cattle pen with wooden fences, a corral that belongs in a meadow, not here. As I walk along the fence, a group of cattle approach me, looking me straight in the eye, like dogs hoping for a treat, and follow me out of some mysterious impulse. I stop and try to absorb the whole scene: the cool breeze, the cattle and their gentle lowing, a cloudless sky, steam rising from the plant in the moonlight. And then I notice that the building does have one window, a small square of light on the second floor. It offers a glimpse of what’s hidden behind this huge blank façade. Through the little window you can see bright red carcasses on hooks, going round and round.