60 pages • 2 hours read
Content Warning: This section of the guide contains descriptions of sexual assault, violence, rape, suicide, attempted murder, and mental health conditions.
Pilar Puente
Pilar arrives in Miami, where she plans to see if her cousin Blanquíto will hide her for a day or two before taking her to Key West so that she can find a boat to Cuba. He and his parents live in a ranch-style house in Coral Gables, where much of the Miami family congregates on weekends. Pilar is wary of being seen by any of her other relatives. She makes her way to the home after stopping to sit in a church and looking in the shop windows of the ritzy stores on Miracle Mile. From the backyard, she can hear various family members inside the house, and she is struck by how disingenuous her aunts sound, how petty their judgements of one another are, and how much they remind her of her own disagreeable mother. After getting doused with rain, Pilar decides to stop hiding and falls asleep in a lounge chair. She is woken up by her Tía Rosario not long after she drifts off.
Lourdes Puente
Back in Brooklyn, Lourdes is visited by the spirit of her father while walking down the street. She is so sure that she sees him and that he speaks to her, and she can even smell his cologne. She was always closer to him than to her mother, especially as a young girl, and she recalls impatiently waiting for him to return from his work trips. Now, she hires a new worker at the bakery, but she catches the woman stealing and fires her. Lourdes has a wandering eye, and although it does not impact her 20/20 vision, it skews her field of sight just enough that she feels she can see more than she would have otherwise been able to. It is the wandering eye that catches the theft.
Lourdes recalls her life before leaving Cuba. At the time, she and Rufino lived on his family’s finca, a large farm, and one day while riding a horse, she was thrown. Upon her return, she found soldiers in their home. Although she yelled at them until they left, they returned a few days later to hand her a decree stating that the family property was confiscated by the revolutionary government. This time, when she protested, they pinned her down and raped her at knifepoint. She and Rufino left for the United States not long after. At the airport in Miami, their daughter Pilar ran away. They found her sitting on the lap of an American pilot. After they left the airport, Lourdes wanted to head north. They drove all the way to New York, where they settled in Brooklyn.
Now, as Lourdes is reminiscing, Jorge appears again. She tells him that she thought she imagined him the first time he appeared. She confesses that she misses him and that her daughter hates her. She recently flew down to Miami to pick up Pilar, and their relationship is still strained. Jorge tells her that Pilar does not hate her, but that “she just hasn’t learned to love [Lourdes] yet” (74).
Felicia has delusions, and she is not sure what causes them. Her mind wanders and colors bleed together. She thinks that the sun worsens the delusions, so she stays inside and listens to Beny Moré records. This is the only activity that decreases her intrusive thoughts and re-orders the objects in her world. During these episodes, Felicia is often consumed by memories, thoughts of the future, and the feeling that she can read other people’s minds. She has the sense that everything in the world is connected. She recalls her childhood affinity for religious objects and reflects that although prayer cards, crucifixes, and other Catholic paraphernalia were more “intriguing” to her than the religion’s dogma, she still worried that her mother, an atheist, will go to hell when she dies. Celia is not religious, but she does have a healthy respect for powers that she does not understand, and she always kept her children inside on the feast day of Changó, the Yoruba “Orisha,” or deity. Celia has always disapproved of Felicia’s friendship with Herminia because Herminia’s father was denounced as a witch doctor.
Now, Felicia is consumed by thoughts of St. Sebastian, who was a girlhood obsession of hers because of his gruesome double execution; he had been shot through with arrows and then beaten to death. Because she had been intent on using Sebastian as her confirmation name despite the nuns’ adamant refusal, Felica had refused to participate in confirmation. While he was alive, Jorge was sure that this act of defiance was responsible for all of her subsequent troubles.
Felicia teaches her son Ivanito to dance as a way to rid herself of delusions and intrusive thoughts. And yet, she cannot help but think of Hugo Villaverde, her estranged husband. The two met while she was working as a waitress. Hugo was a merchant marine, and after spending a night with her, he left. By the time he returned later in the summer, she was pregnant. The two married during the week of the Cuban Missile Crisis. Jorge, who disapproved of the match, refused to attend the wedding. Hugo and Felicia moved into the house on Palmas Street. Hugo turned out to be a violent husband, and he soon returned to the sea, leaving Felicia to give birth to twin daughters, Luz and Milagro, on her own. By the time Hugo returned again, Felicia was suffering from syphilis and various other sexually transmitted diseases contracted from her husband. In a moment of lucidity, she realized that she must prevent him from returning. One day, while cooking plantains, she placed a rag into the hot oil, lit it on fire, and then dropped it onto his head. He ran from the house screaming.
Ivanito Villaverde
Felicia’s mental health continues to deteriorate. She and Ivanito dance maniacally each morning, and she uses all of her ration coupons to purchase every last coconut that she can find. She prepares a large quantity of coconut ice cream. Felicia believes that the coconut will purify them, but when Luz and Milagro return from a camping trip, they worry. They have seen their mother in this condition before and tell Ivanito that it spells trouble. They tell him that their mother set Hugo on fire and taunt him that he might end up as “crazy” as Felicia. At the end of the summer, Celia arrives at the house on Las Palmas and packs Ivanito’s belongings. When Celia leaves, Felicia makes sure that she and Ivanito are dressed in their finest clothing, prepares an elaborate dinner, and crushes up pink tablets into their ice cream. She tells Ivanito to “imagine winter.” Then, the two go to sleep.
Celia del Pino
Celia thinks that Ivanito resembles his father more and more as she ages. She recalls the last time she saw Hugo. At the time, Felicia was pregnant and had brought Hugo into her parents’ home despite Jorge’s opposition to the relationship. Jorge broke a dining-room chair over Hugo’s back, and Hugo had punched Jorge. Jorge told Felicia that if she left with Hugo, she should not return, but she followed him out the door anyway.
Celia continues to visit her ailing daughter, bringing her food and trying to help with the housework. She often sees Herminia on her way to Felicia’s, and although she is grateful for the woman’s friendship with Felicia, Herminia’s dedication to Santería makes her uncomfortable. The day that Felicia attempts suicide is otherwise unremarkable. Cecilia hitchhikes to Felicia’s house to bring food to her grandson Ivanito. She tells her daughter that her job at the beauty salon will be waiting for her when she returns. She attempts to take Ivanito, but Felicia promises that she’ll bring her son to the beach the next day. Celia believes her daughter and returns home. On the way home, she remembers her youth. She was one of nine children, but her father had a second family, also with nine children. Her parents eventually divorced, and Celia was sent to live with her great aunt in Havana. She loved the bustling city and learned about Cuban culture. She also inherited her great aunt’s distaste for religion.
That night, Celia’s sleep is troubled by a cacophony of dissonant voices. She wakes suddenly and sends her granddaughters to Herminia’s house, for she can sense that there is something wrong with Felicia.
In 1942, Celia writes to Gustavo that she still loves him, but that the feeling has become “habitual.” She wonders if he has read about the tidal wave that hit Cuba. She tells him that their house had survived, but everything inside of it has been sand-coated and damaged. She recalls their time together, asking if he remembers the poverty of the countryside. So many people in Cuba lack work, money, food, and clothing. She tells him that her son Javier was born with a caul and that Jorge believes it to be a sign of luck, for only once in each generation is such a child is born in his family. She tells him that Jorge has become afraid of her smile. After Gustavo left, she spent months in bed mourning his loss. Jorge saved her from that state of melancholy, but she cannot understand why she has been rescued.
This portion of the narrative introduces the setting of Miami, and although the city does not figure particularly prominently in the novel, it remains an important point of connection with the broader Cuban diaspora. The setting of Miami is introduced through the character of Pilar, whose first important piece of characterization is her Fraught Family Bonds with her mother. The two struggle so greatly that when Pilar becomes interested in her Cuban heritage, she runs away to Miami with the hope of finding a fisherman to ferry her to Cuba in his boat. As the city in the United States with the largest and most well-established Cuban community, Miami is an important cultural touchstone within the Cuban diaspora. By setting a portion of her narrative in Miami, García grounds her novel with this important part of Cuban American history. Much of Pilar’s extended family lives in Miami, and several of the characters are shown to be mired in their nostalgia for pre-revolutionary Cuba as were at least a portion of Cuban émigrés at that time. This representation reflects García’s goal of depicting the Cuban diaspora as a space of divergence and heterogeneity. There are Cubans who, like Rufino and his relatives, deeply miss their home country and are fiercely angry at Castro, while others, like Lourdes, embrace their new home and have moved on. García wants her readers to understand the complexities of “Cubanidad” and to understand that there is no one way to embody Cuban culture and heritage.
Employing magical realism often allows authors to explore a particular idea or theme without remaining confined to a linear series of events as they would have occurred in real life. In this novel, much of the magical realism is centered around the theme of Fraught Family Bonds, and it becomes emblematic of the separation between family members that happens as a result of immigration and exile. Because the characters are separated by geography, they must visit one another in spirit. For example, the deceased Jorge visits Lourdes frequently, and their conversations run the gamut from mundane to meaningful. He also helps her to understand her mother, her daughter, and her husband. As the two communicate, the depth of their bond becomes evident, and their relationship stands out as an example of the ways in which the women in this family tend to turn away from their mothers when seeking love, support, and companionship.
Lourdes, although initially characterized by a controlling management approach and overbearing parenting style, becomes a more sympathetic character as the latent trauma of her immigration story is revealed. She and Rufino had been living on his family’s finca when the Castro regime confiscated their property. In addition to being kicked out of their home, Lourdes was sexually assaulted by the soldiers sent to deliver the edict, and their flight from Cuba highlights the harsh realities of the violence that characterized that moment in history. While the revolution represented the promise of great change for individuals like Celia, it was a time of violent upheaval and oppression for people like Lourdes. By juxtaposing the very divergent experiences of these two women, García stresses the fact that, like migration, revolution itself is not a monolithic phenomenon, and it is experienced and understood differently by different people. These differences speak to the theme of Immigration, Exile, and Cuban Identity, for each character undergoes a different experience of revolution, and those experiences impact the formation of their new identities in the wake of exile. This depiction of Lourdes’s sexual assault also speaks to the theme of The Impact of Political Ideology on Individuals. Lourdes will never be as moved as her mother Celia by the cause of socialism, because she sees it through the prism of actions rather than ideology. For her, Cuban-style communism is equivalent to the perpetration of violence, theft, and oppression.
In a further attempt to delve into the novel’s female characters, García devotes considerable time to characterizing Felicia and Celia in this section. Most notably, the collapse of Felicia’s mental health is depicted, and the impact of her declining mental state on her parenting highlights a novel angel of the theme of Fraught Family Bonds. Like her mother before her, Felicia finds herself unable to fully focus her energy on parenting because she has turned too deeply inward. These sections of the novel are strategically positioned alongside the challenges of Celia’s youth, in which she remained fixated on her long-lost love Gustavo before shifting her attention to the charismatic charm of El Líder and his socialist cause. However, Felicia’s mental health condition proves to be far more complex and damaging to her children than her mother’s was. During Felicia’s breakdown, Celia redeems herself for her early parenting mistakes by providing essential care to her adult daughter. For example, she makes considerable sacrifices by hitchhiking or taking the bus to Felicia’s house in order to check on her, providing food, cleaning the house, and looking after Luz, Milagro, and Ivanito. Her behavior therefore demonstrates that despite how fraught this family’s bonds are, the women of the family do retain a distinctive strength and love one another regardless of their differences. This situation therefore stands as a broader metaphor for immigration itself, for although geographical and ideological barriers often threaten the closeness of family bonds, García suggests that it is possible to maintain familial ties and overcome difficult situations and separations.
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