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A childhood in a privileged household in 1950s Havana was joyous and cruel, like any other-but with certain differences. The neighbour's monkey was liable to escape and run across your roof. Surfing was conducted by driving cars across the breakwater. Lizards and firecrackers made frequent contact. Carlos Eire's childhood was a little different from most. His father was convinced he had been Louis XVI in a past life. At school, classmates with fathers in the Batista government were attended by chauffeurs and bodyguards. At a home crammed with artifacts and paintings, portraits of Jesus spoke to him in dreams and nightmares. Then, in January 1959, the world changes: Batista is suddenly gone, a cigar-smoking guerrilla has taken his place, and Christmas is cancelled. The echo of firing squads is everywhere. And, one by one, the author's schoolmates begin to disappear-spirited away to the United States. Carlos will end up there himself, without his parents, never to see his father again. Narrated with the urgency of a confession, WAITING FOR SNOW IN HAVANA is both an ode to a paradise lost and an exorcism. More than that, it captures the terrible beauty of those times in our lives when we are certain we have died-and then are somehow, miraculously, reborn.
Carlos Eire's National Book Award-winning memoir of his childhood in 1950s Havana and the overnight upheaval of his world in January 1959, when the Batista government was toppled.
A survivor of the Cuban Revolution recounts his pre-war childhood as the religiously devout son of a judge, and describes the conflict's violent and irrevocable impact on his friends, family, and native land.
A survivor of the Cuban Revolution recounts his pre-war childhood as the religiously devout son of a judge, and describes the conflict's violent and irrevocable impact on his friends, family, and native home.
In this book, we have hand-picked the most sophisticated, unanticipated, absorbing (if not at times crackpot!), original and musing book reviews of "Waiting for Snow in Havana: Confessions of a Cuban Boy." Don't say we didn't warn you: these reviews are known to shock with their unconventionality or intimacy. Some may be startled by their biting sincerity; others may be spellbound by their unbridled flights of fantasy. Don't buy this book if: 1. You don't have nerves of steel. 2. You expect to get pregnant in the next five minutes. 3. You've heard it all.
In this book, we have hand-picked the most sophisticated, unanticipated, absorbing (if not at times crackpot!), original and musing book reviews of "Waiting for Snow in Havana: Confessions of a Cuban Boy." Don't say we didn't warn you: these reviews are known to shock with their unconventionality or intimacy. Some may be startled by their biting sincerity; others may be spellbound by their unbridled flights of fantasy. Don't buy this book if: 1. You don't have nerves of steel. 2. You expect to get pregnant in the next five minutes. 3. You've heard it all.
Continuing the personal saga begun in the National Book Award-winning Waiting for Snow in Havana, the inspiring, sad, funny, bafflingly beautiful story of a boy uprooted by the Cuban Revolution and transplanted to Miami during the years of the Kennedy administration. In his 2003 National Book Award–winning memoir Waiting for Snow in Havana, Carlos Eire narrated his coming of age in Cuba just before and during the Castro revolution. That book literally ends in midair as eleven-year-old Carlos and his older brother leave Havana on an airplane—along with thousands of other children—to begin their new life in Miami in 1962. It would be years before he would see his mother again. He would never again see his beloved father. Learning to Die in Miami opens as the plane lands and Carlos faces, with trepidation and excitement, his new life. He quickly realizes that in order for his new American self to emerge, his Cuban self must “die.” And so, with great enterprise and purpose, he begins his journey. We follow Carlos as he adjusts to life in his new home. Faced with learning English, attending American schools, and an uncertain future, young Carlos confronts the age-old immigrant’s plight: being surrounded by American bounty, but not able to partake right away. The abundance America has to offer excites him and, regardless of how grim his living situation becomes, he eagerly forges ahead with his own personal assimilation program, shedding the vestiges of his old life almost immediately, even changing his name to Charles. Cuba becomes a remote and vague idea in the back of his mind, something he used to know well, but now it “had ceased to be part of the world.” But as Carlos comes to grips with his strange surroundings, he must also struggle with everyday issues of growing up. His constant movement between foster homes and the eventual realization that his parents are far away in Cuba bring on an acute awareness that his life has irrevocably changed. Flashing back and forth between past and future, we watch as Carlos balances the divide between his past and present homes and finds his way in this strange new world, one that seems to hold the exhilarating promise of infinite possibilities and one that he will eventually claim as his own. An exorcism and an ode, Learning to Die in Miami is a celebration of renewal—of those times when we’re certain we have died and then are somehow, miraculously, reborn.
Continuing the personal saga begun in the National Book Award-winning Waiting for Snow in Havana, the inspiring, sad, funny, bafflingly beautiful story of a boy uprooted by the Cuban Revolution and transplanted to Miami during the years of the Kennedy administration. In his 2003 National Book Award–winning memoir Waiting for Snow in Havana, Carlos Eire narrated his coming of age in Cuba just before and during the Castro revolution. That book literally ends in midair as eleven-year-old Carlos and his older brother leave Havana on an airplane—along with thousands of other children—to begin their new life in Miami in 1962. It would be years before he would see his mother again. He would never again see his beloved father. Learning to Die in Miami opens as the plane lands and Carlos faces, with trepidation and excitement, his new life. He quickly realizes that in order for his new American self to emerge, his Cuban self must “die.” And so, with great enterprise and purpose, he begins his journey. We follow Carlos as he adjusts to life in his new home. Faced with learning English, attending American schools, and an uncertain future, young Carlos confronts the age-old immigrant’s plight: being surrounded by American bounty, but not able to partake right away. The abundance America has to offer excites him and, regardless of how grim his living situation becomes, he eagerly forges ahead with his own personal assimilation program, shedding the vestiges of his old life almost immediately, even changing his name to Charles. Cuba becomes a remote and vague idea in the back of his mind, something he used to know well, but now it “had ceased to be part of the world.” But as Carlos comes to grips with his strange surroundings, he must also struggle with everyday issues of growing up. His constant movement between foster homes and the eventual realization that his parents are far away in Cuba bring on an acute awareness that his life has irrevocably changed. Flashing back and forth between past and future, we watch as Carlos balances the divide between his past and present homes and finds his way in this strange new world, one that seems to hold the exhilarating promise of infinite possibilities and one that he will eventually claim as his own. An exorcism and an ode, Learning to Die in Miami is a celebration of renewal—of those times when we’re certain we have died and then are somehow, miraculously, reborn.
Offers a detailed picture of the lives of Cuban Americans through interviews with artists, writers, and philosophers. This fascinating volume contains interviews with nineteen prominent Cuban-American artists, writers, and philosophers who tell their stories and share what they consider important for understanding their work. Struggling with issues of Cuban-American identity in particular and social identity in general, they explore such questions as how they see themselves, how they have dealt with the diaspora and their memories, what they have done to find a proper place in their adopted country, and how their work has been influenced by the experience. Their answers reveal different perspectives on art, literature, and philosophy, and the different challenges encountered personally and professionally. The interviews are gathered into three groups: nine artists, six writers, and four philosophers. An introductory essay for each group is included, and the interviews are accompanied by brief biographical notes, along with samples of the work of those interviewed. Jorge J. E. Gracia is SUNY Distinguished Professor and Samuel P. Capen Chair in Philosophy at the University at Buffalo, State University of New York. His many books include Race or Ethnicity? On Black and Latino Identity. Lynette M. F. Bosch is Professor of Art History at SUNY College at Geneseo and author of Cuban-American Art in Miami: Exile, Identity and the Neo-Baroque. Isabel Alvarez Borland is Monsignor Edward G. Murray Professor of Arts and Humanities at the College of the Holy Cross and author of Cuban-American Literature of Exile: From Person to Persona.