60 pages • 2 hours read
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(1980)
Celia gathers Felicia’s belongings for her funeral. Felicia had requested to be buried in the white clothes of a santera, and Celia had agreed. After sorting through her daughter’s clothing and miscellaneous belongings, Celia puts on Felicia’s swimsuit and marches into the sea.
Pilar and Lourdes arrive in Cuba. Pilar is struck by the proliferation of billboards advertising the revolution “as if it were a new brand of cigarette” (215). Lourdes is struck by the poverty and crumbling buildings. As they make their way to the house on Las Palmas Street, they listen to a news story about a group of Cubans storming the Peruvian embassy, hoping to be able to leave the country. After looking at the shuttered family home, they enlist a taxi to take them to Santa Teresa del Mar. As they proceed along the coastal highway, Pilar looks out at the ocean. She remembers that she once planned to cross it from Key West in a fisherman’s boat and thinks about the many people who have attempted the treacherous crossing in the opposite direction, hoping to reach Miami safely and begin new lives.
When they arrive at Celia’s, they find her sitting on her porch swing, gazing at the sea. She is covered in sand and seaweed, and she tells her daughter and granddaughter that she went for a swim the night before. Lourdes bathes her, and they feed her soup and put her to bed. Lourdes notices a framed photo of El Líder on the table; Celia has wedged the photograph of Castro over a picture of Jorge.
Lourdes and Pilar go for a walk and purchase a stalk of sugarcane to chew on. It is not as sweet as Lourdes remembers. Lourdes continues to be struck by the country’s poverty and blight and tries to tell the Cubans she meets that if they were in America, their lives would be better. She notes the proliferation of vintage American cars, some held together with rope and twine. These ancient, hulking vehicles still work better than the newer Russian models available in Cuba, and Lourdes cannot help but be angry at how “brainwashed” the Cuban populace has become through so many years of propaganda, obfuscation, and misinformation.
Lourdes
Lourdes continues to notice the poverty and thinks that in spite of socialism’s promises, inequality persists; Ivanito devours plate after plate of food at the tourist hotel she takes him to because red meat and seafood are not part of the local diet. The ration coupons provided to locals do not allow for such delicacies, which are reserved for tourists and for export to Russia. Lourdes meets Luz and Milagro, and they go dancing with Ivanito. Although she thinks that her daughter Pilar dances like an American, Ivanito is a beautiful dancer. Lourdes travels back to the finca where she and Rufino once lived. She remembers their early days together, then recalls her rape and their hasty exit from Cuba.
Ivanito
Ivanito spends time with Lourdes, Pilar, and his sisters Luz and Milagro. Pilar encourages them all to consult the I Ching, and Lourdes and Ivanito’s sisters both roll their eyes. Lourdes calls it “garbage,” and Luz and Milagro characterize Pilar as “another loca” in the family. Although Ivanito is interested in talking to Pilar, Lourdes tries to monopolize his time. She tells him stories of everything that is possible in America but ignores him when he tells her that he would like to be a translator for world leaders because his Russian is so fluent.
Pilar
Celia and Pilar have developed a closeness, and the strength of their bond is evident in the amount of time they spend together and in the ease of their interactions. Pilar offers to paint Celia’s portrait and Celia laughingly tells her granddaughter that she would like to be painted in a red flamenco dress. Celia also tells Pilar about Cuba before the revolution. It was corrupt and poor, and the entire economy was based on sugar, the profits of which were mostly funneled to American companies. Pilar interrupts to point out that there is still corruption, repression, a lack of opportunity, and constant shortages of food and other basic necessities. Pilar wonders how her life would have been different if she had remained on the island with Celia. Although her mother cannot wait to leave so that she can stop giving “hard currency” to El Líder’s regime, Pilar wishes to stay longer. Celia gives her granddaughter the collection of letters she wrote to Gustavo, as well as a cherished book of poetry by Garcia Lorca.
Lourdes
Lourdes heads to the Peruvian embassy in Havana to assess the deteriorating situation. El Líder himself appears, and she gets so close that it occurs to her that she could easily kill him. He tells the people gathered at the embassy, the would-be defectors who are desperate to leave, that they are welcome to go to any country that will accept them. She leaves the embassy, packs Ivanito a bag, gives him 200 dollars and a statement written in English declaring his status as a political prisoner and identifying Lourdes Puente as his aunt. She tells him to take the first flight that he can. El Líder is allowing Cubans to leave en masse for the first time. An exodus from the island has begun.
Pilar
Celia’s neighborhood is abuzz with talk of the mass immigration. Pilar and Celia realize that both Lourdes and Ivanito are missing, and they set off in a borrowed Lada to locate the pair. When they arrive in the capital, they are immediately mired in a massive traffic jam. They slowly make their way to the embassy, and although Pilar is injured by a rock in the chaos, she finds Ivanito. She hugs him tightly, then lets him go. She finds Celia and tells her that she was unable to locate Ivanito, and they leave. Pilar is not sure that she has made the right decision.
Celia
Celia returns home. She recalls her first days in Havana as a young girl. She realizes that she has never left Cuba or traveled to Spain, and that the waters that lap the edges of her island are the furthest she has ever been from her home. She walks down to the sea, enters the water, and one by one, casts her drop pearl earrings into the ocean.
This part of the text, more so than any other, is grounded within the broader history of the Cuban revolution and its resulting diaspora. The primary narrative is of Pilar and Lourdes’s trip to Cuba to visit Celia, and although their story in Part 3 advances the themes of Immigration, Exile, and Cuban Identity, Fraught Family Bonds, and The Impact of Political Ideology on Individuals, it also engages with critical moments of Cuban history. Pilar and Lourdes’s trip is rendered possible by alterations to travel policies that occurred during the Castro regime in 1978, and this section describes the chaotic occupation of the Peruvian embassy in Havana by Cubans seeking exile. Ultimately, this crisis becomes the Mariel Boatlift, in which young Ivanito will take part.
As Pilar and Lourdes arrive in Cuba, their shock at the signs of dereliction and decay reflect the deep contrasts between their relatively privileged American lifestyle and the privations of those who still call Cuba their home. Faced with the evidence of the deep flaws in Castro’s regime, Lourdes also finds the endless series of billboards advertising the revolution to be jarring and indicative of the regime’s failure, for she reasons that a successful endeavor would have no need to advertise itself. She therefore realizes that she no longer belongs in her once-beloved country, and she feels resentment toward her own family members, noticing with disgust that Celia has covered up a framed picture of her father with one of El Líder. Notably, her anger is so great that she also feels the need to directs it toward complete strangers on the street. Later, she succumbs to a more contemplative moment as she looks out at the ocean and considers the many people who have emigrated northward. The narrative states, “What happens to their languages? The warm burial grounds they leave behind? What of their passions lying stiff and untranslated in their breasts? Lourdes considers herself lucky. Immigration has redefined her, and she is grateful” (73). Although her thoughts are trained on Cuba’s struggles, she is also drawn into a broader rumination on the stakes of Immigration, Exile, and Cuban Identity, and she wonders what happens to personal identity in the wake of such exile.
Pilar’s experiences in Cuba are markedly different from those of her mother. Whereas Lourdes is repelled by Cuba, Pilar is drawn to it, bonding deeply with her grandmother and finding a new sense of peace, homeland, and identification in the country of her birth. Her first inkling of desire to travel to Cuba is initially born in the botánica where the owner identifies her as a daughter of Chángo, the stormy Orisha of lighting and thunder. And yet, when she arrives in Cuba, she finally settles into her identity and embraces her family heritage in ways that are distinctly calming. Historically, trips like the one that Lourdes and Pilar make were rendered possible by the 1978 loosening of travel restrictions for Cuban émigrés in the United States. Although García does not explicitly mention these policy changes, she relies on the fact that these details are self-evident to those who have a deeper knowledge of Cuban history. Further historical references occur with the novel’s representation of the storming of the Peruvian embassy by would-be émigrés, and García uses this event as a key plot point, for Lourdes and Pilar make sure that young Ivanito will be among those include in the mass exodus of the Mariel Boatlift. Again, García grounds her text in the history of Cuban exile and immigration, evoking details that speak to members of the Cuban diasporic community all over the world.
The novel ends with Celia’s final letter to Gustavo, creating a contemplative conclusion that steps back in time to explore her last correspondence to him in 1959. In her final letter, she makes it clear that she is moving on and dedicating her support to El Líder. Although she will nonetheless continue to cherish the pearl earrings for decades, the letters are indicative of her desire to move forward, and they place this text in dialogue with others of García’s, such as King of Cuba, which explicitly critique the cult of personality surrounding Fidel Castro.
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