Overview


A gripping novel about the assassination of Leon Trotsky in Mexico City in 1940

In The Man Who Loved Dogs, Leonardo Padura brings a noir sensibility to one of the most fascinating and complex political narratives of the past hundred years: the assassination of Leon Trotsky by Ramón Mercader.

The story revolves around Iván Cárdenas Maturell, who in his youth was the great ...

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The Man Who Loved Dogs: A Novel

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Overview


A gripping novel about the assassination of Leon Trotsky in Mexico City in 1940

In The Man Who Loved Dogs, Leonardo Padura brings a noir sensibility to one of the most fascinating and complex political narratives of the past hundred years: the assassination of Leon Trotsky by Ramón Mercader.

The story revolves around Iván Cárdenas Maturell, who in his youth was the great hope of modern Cuban literature—until he dared to write a story that was deemed counterrevolutionary. When we meet him years later in Havana, Iván is a loser: a humbled and defeated man with a quiet, unremarkable life who earns his modest living as a proofreader at a veterinary magazine. One afternoon, he meets a mysterious foreigner in the company of two Russian wolfhounds. This is “the man who loved dogs,” and as the pair grow closer, Iván begins to understand that his new friend is hiding a terrible secret.

Moving seamlessly between Iván’s life in Cuba, Ramón’s early years in Spain and France, and Trotsky’s long years of exile, The Man Who Loved Dogs is Padura’s most ambitious and brilliantly executed novel yet. This is a story about political ideals tested and characters broken, a multilayered epic that effortlessly weaves together three different plot threads— Trotsky in exile, Ramón in pursuit, Iván in frustrated stasis—to bring emotional truth to historical fact.

A novel whose reach is matched only by its astonishing successes on the page, The Man Who Loved Dogs lays bare the human cost of abstract ideals and the insidious, corrosive effects of life under a repressive political regime.

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Editorial Reviews

EBOOK COMMENTARY

Praise for The Man Who Loved Dogs:

 

“Padura has written a historical novel of Tolstoyan sweep. The bonus thrill stems from knowing that this horrific tale—and most of its characters—are all too true . . . in The Man Who Loved Dogs, Padura attempts nothing less than an inquest into how revolutionary utopias devolve into totalitarian dystopias. At the same time, he has written an irresistible political crime thriller—all the more remarkable considering that we know the ending before we crack open this 576-page tome. The Man who Loved Dogs, beautifully rendered into English by Anna Kushner, is an exhaustively reported work, chockablock with history — from the Russian Revolution, the rise of fascism and Stalin’s show trials to the steely suffocation of post-Castro Cuba . . . A carefully crafted web of relationships threaded through Padura’s characters drives this complex . . . narrative . . . Like fellow novelist Pedro Juan Gutiérrez, Padura writes along the razor’s edge. In his detective novels, he cagily navigated a quasi-permissible space, but in The Man Who Loved Dogs (first published in Spain in 2009), he finally lets it rip. Although Fidel Castro is never mentioned by name, his creation—the Cuban revolution—is rendered here as a crumbling tropical gulag. It is a calculated risk by Padura, a keen student of Cuban chess, and one based on the fact that there is a wider opening today than ever before on the island since the revolution. Moreover, as Cuba’s greatest living writer and one who is inching toward the pantheon occupied by Gabriel García Márquez and Mario Vargas Llosa, Padura may well now be untouchable.” —Ann Louise Bardach, The Washington Post

 

“The word ‘ambitious’ is often reviewerspeak for ‘long,’ and the novel is indeed that, at more than 550 pages. The word also can also imply the failure of a book to live up to its own expectations, but here that is not the case. Padura, who first conceived of the story while the Berlin Wall still stood, somehow manages to impose a riveting narrative form on what would otherwise be a textbook-level treatise on the rise and schism of international communism and how it has reverberated through the years to inform the lives of those still under its rule . . . Padura puts a human face on what might have otherwise been a stale chess match of ideology . . . wonderful translation by Anna Kushner supports the grand structure of the book, while maintaining Padura’s complex and muscular prose. He writes the sort of sentences that require confidence in the political import of literature, which we so rarely see these days in American authors . . . For an author who lives and writes in the intensely censorious Cuba, the publishing of this book represents not only an impressive artistic achievement but also an act of bravery.” —Nicholas Mancusi, The Miami Herald



“If Gabriel García Márquez’s Love in the Time of Cholera turned the romance novel into literature, and Mario Vargas Llosa, with Conversation in the Cathedral, applied French 1950s nouveau roman techniques to the political thriller, the Cuban writer Leonardo Padura, known for detective thrillers, has made his entrance to the Latin American Modernist canon by writing a Russian novel . . . Its Russian quality comes not only from its length—almost 600 pages—and the fact that it returns constantly to Moscow, but also from its Tolstoyan passion for historical trifles and Dostoyevskyan pleasure in examining the moral life of its characters . . . Mr. Padura’s novel tells [a] triple story without ever abandoning the general conventions of fiction. More concerned with the emotional life of its characters than with their historical roles, the novel still imparts a sense of reality, thanks to its deft handling of an astonishing quantity of information about Trotsky and Mercader’s lives . . . The three alternating stories resonate with one another, acquiring deeper meaning as they paint the complete fresco of a political paradigm’s downfall. Mr. Padura suggests that his three main characters, though playing very different roles, end up victims of the machinations of a system that discards them when they stop being useful . . . Ms. Kushner’s rendering of the novel in English brilliantly demonstrates her loyalty to the author’s voice. She nudges the English to give it a Cuban tone, respectful of the brutal efficiency of Mr. Padura’s Spanish, while never sacrificing the lyrical flourishes with which he occasionally bedazzles his readers.” —Alvaro Enrigue, The New York Times

“Spy-novel clichés and hard-boiled dialogue . . . keep the pages of The Man Who Loved Dogs turning . . . tension builds toward a dramatic climax that helps to make his novel a rewarding read.” —Bertrand M. Patenaude, The Wall Street Journal

“In this ambitious, at times gripping work of historical fiction, Padura re-creates the 1940 assassination of Leon Trotsky in Mexico. The novelist draws a surprisingly sympathetic portrait of the outcast Bolshevik, hounded by Joseph Stalin. Padura’s Trotsky is arrogant and intransigent but also extraordinarily resilient and industrious in exile, self-critical and prescient, and emotionally devoted to his loving wife and children . . . Padura laments the . . . snuffing out of credulous dreams of Cuban revolutionaries but notes that the Soviet Union collapsed when the terror and lies began to subside. It is not clear whether the novelist foresees the same fate for Cuba.” —Foreign Affairs

“Padura is one of Cuba’s leading writers, and this massive novel must be his masterpiece; it’s a brilliant, multi-layered examination of 20th-century history . . . With equal assurance and brio, Padura travels between Stalin’s Moscow, the Mexico of Frida Kahlo, and Spain and France in the turbulent years between the wars, to engineer an epic of lost illusions. Magnificent.” —Kate Saunders, The Times (London)



The Man Who Loved Dogs, by Cuban author Leonardo Padura, is a stunning novel, chronicling the evisceration of the Communist dream and one of the most "ruthless, calculated and useless" crimes in history. Spanning wide tracts of the globe, sweeping through some of the most tumultuous events of the 20th century and interweaving the lives of three wildly different characters, this monumental, intricately structured work recounts the events that lay behind the assassination of Lev Davidovich Trotsky in Mexico City in 1940 . . . It is a measure of Padura’s hum­anity and skill as a novelist that the reader can at times empathise with all three [central] characters despite their cruel actions and manifest flaws.” —John Thornhill, The Financial Times

“Cuban writer Padura delivers a complex, every deepening tale of politics and intrigue worthy of Alan Furst or Roberto Bolaño . . . Long but without excess; philosophically charged but swiftly moving. A superb intellectual mystery.” —Kirkus (starred)

“For some time, Cuban writer Leonardo Padura has been exploring his disenchantment with many of the realities of his beloved county through his novels about detective Mario Conde. But it is in his The Man Who Loved Dogs, just published in English, where his social and political reflections about socialism and freedom—in Cuba and beyond—reach their greatest depth . . . Contrary to the stereotype of robot-like Communists, Padura presents a nuanced view of a range of Communist personalities . . . Padura, living under Cuba’s sort of Communism . . . highlights Trotsky as a literary critic who affirms, without hesitation, that ‘everything is permitted in art.’ . . . Leonardo Padura is one of the principal representatives of a new intellectual and cultural ambience in the island that support the liberalization and democratization of Cuban society. But he is in a unique position in the Cuban system: though tolerated and even feted, his most critical work has not been made available to the broad public . . . The Cuban government wants to have its cake and eat it too: to relax some political controls and at the same time prevent the spread of ideas that may subvert its monopoly of power. Padura hasn’t been censored or repressed by the Cuban government. But similar to his narrator Iván, he has been made to matter much less than he should.” —Samuel Farber, Jacobin Magazine

 

“The man who loved dogs, in Cuban author Padura’s (Havana Gold) epic novel, is Jaime Lopez, an elderly Spaniard living in ’70s Havana who claims to have been a friend of the man who assassinated Leon Trotsky in Mexico in 1940. An accomplished braiding of history and fiction, the novel follows three attenuated strands. The first is the story of Iván Cárdenas Maturell, a politically incorrect Cuban writer who befriends the dog-loving Lopez. The second is an account of Trotsky’s life in exile, from Turkey and France to Norway, and, finally, Mexico, where he’s welcomed by his good friends, Frida Kahlo and Diego Rivera. And the third traces the radicalization of Ramón Mercader, who joins the Communist Party in Spain in the ’30s and is trained as a Soviet assassin. The novel dramatizes the long, slow collision course of Trotsky and Mercader. It also details Ivan’s relationship with Lopez and the ultimate revelation about his identity. Padura’s novel encompasses nothing less than a history of international communism after the 1917 Revolution. The story goes from the scorched earth of Spain in the 1930s, to the political hotbed that was Mexico in the 1940s, to Moscow during the Prague Summer of 1968, to Havana from the ’70s to the near present, where we learn of Ivan’s ultimate ironic fate, leaving the reader with the exhilarating feeling of having just experienced three entire lives.” —Publishers Weekly

The Man Who Loved Dogs is an excellent novel, rich in suggestions about the human condition and about our world that go beyond straight narrative history.” —Ricardo Senabre, El Mundo

“A novel of great force, and Padura’s best . . . [It] has great human density and an intense narrative dynamic.” —J. A. Masoliver Rodenas, La Vanguardia

Library Journal
10/15/2013
In an ambitious switch from his acclaimed detective fiction, this sprawling novel from Padura (the 2012 winner of Cuba's National Prize for Literature) spins three alternating narrative threads. The largest traces renegade revolutionary Leon Trotsky's long exile from Russia through his stays in Turkey, France, Norway, and finally Mexico. The second strand focuses on his assassin, Ramón Mercader (the dog lover of the title), from his early years in Spain to communist indoctrination. The shortest and most original is that of Cuban veterinarian Iván Cárdenas, into whose vagarious life enters a stranger who ends up being none other than Mercader. The three plots culminate in a narrative twist that catches the reader off guard. Focusing on global events of the 1930s, swarming with secondary characters, and climaxing with Trotsky's brutal 1940 assassination, and with brief appearances at the Stalin purge trials and the Spanish Civil War, Padura's work is historically accurate. The documentary style, however, fails to develop characters convincingly, and the details of the assassination are given comparatively short shrift. VERDICT This novel will appeal especially to readers who know (or want to know) the Trotsky story, though the title won't make the connection intuitive.—Lawrence Olszewski, OCLC Lib., Dublin, OH
The New York Times - Alvaro Enrigue
…Leonardo Padura…has made his entrance to the Latin American Modernist canon by writing a Russian novel…Its Russian quality comes not only from its length…and the fact that it returns constantly to Moscow, but also from its Tolstoyan passion for historical trifles and Dostoyevskyan pleasure in examining the moral life of its characters…More concerned with the emotional life of its characters than with their historical roles, the novel still imparts a sense of reality, thanks to its deft handling of an astonishing quantity of information about Trotsky and Mercader's lives…Ms. Kushner's rendering of the novel in English brilliantly demonstrates her loyalty to the author's voice. She nudges the English to give it a Cuban tone, respectful of the brutal efficiency of Mr. Padura's Spanish, while never sacrificing the lyrical flourishes with which he occasionally bedazzles his readers.
Publishers Weekly
09/23/2013
The man who loved dogs, in Cuban author Padura’s (Havana Gold) epic novel, is Jaime Lopez, an elderly Spaniard living in ’70s Havana who claims to have been a friend of the man who assassinated Leon Trotsky in Mexico in 1940. An accomplished braiding of history and fiction, the novel follows three attenuated strands. The first is the story of Iván Cárdenas Maturell, a politically incorrect Cuban writer who befriends the dog-loving Lopez. The second is an account of Trotsky’s life in exile, from Turkey and France to Norway, and, finally, Mexico, where he’s welcomed by his good friends, Frida Kahlo and Diego Rivera. And the third traces the radicalization of Ramón Mercader, who joins the Communist Party in Spain in the ’30s and is trained as a Soviet assassin. The novel dramatizes the long, slow collision course of Trotsky and Mercader. It also details Ivan’s relationship with Lopez and the ultimate revelation about his identity. Padura’s novel encompasses nothing less than a history of international communism after the 1917 Revolution. The story goes from the scorched earth of Spain in the 1930s, to the political hotbed that was Mexico in the 1940s, to Moscow during the Prague Summer of 1968, to Havana from the ’70s to the near present, where we learn of Ivan’s ultimate ironic fate, leaving the reader with the exhilarating feeling of having just experienced three entire lives. (Jan.)
From the Publisher
Praise for The Man Who Loved Dogs:

“Padura has written a historical novel of Tolstoyan sweep. The bonus thrill stems from knowing that this horrific tale—and most of its characters—are all too true . . . in The Man Who Loved Dogs, Padura attempts nothing less than an inquest into how revolutionary utopias devolve into totalitarian dystopias. At the same time, he has written an irresistible political crime thriller—all the more remarkable considering that we know the ending before we crack open this 576-page tome. The Man who Loved Dogs, beautifully rendered into English by Anna Kushner, is an exhaustively reported work, chockablock with history—from the Russian Revolution, the rise of fascism and Stalin’s show trials to the steely suffocation of post-Castro Cuba . . . A carefully crafted web of relationships threaded through Padura’s characters drives this complex . . . narrative . . . Like fellow novelist Pedro Juan Gutiérrez, Padura writes along the razor’s edge. In his detective novels, he cagily navigated a quasi-permissible space, but in The Man Who Loved Dogs (first published in Spain in 2009), he finally lets it rip. Although Fidel Castro is never mentioned by name, his creation—the Cuban revolution—is rendered here as a crumbling tropical gulag. It is a calculated risk by Padura, a keen student of Cuban chess, and one based on the fact that there is a wider opening today than ever before on the island since the revolution. Moreover, as Cuba’s greatest living writer and one who is inching toward the pantheon occupied by Gabriel García Márquez and Mario Vargas Llosa, Padura may well now be untouchable.” —Ann Louise Bardach, The Washington Post

 

“The word ‘ambitious’ is often reviewerspeak for ‘long,’ and the novel is indeed that, at more than 550 pages. The word also can also imply the failure of a book to live up to its own expectations, but here that is not the case. Padura, who first conceived of the story while the Berlin Wall still stood, somehow manages to impose a riveting narrative form on what would otherwise be a textbook-level treatise on the rise and schism of international communism and how it has reverberated through the years to inform the lives of those still under its rule . . . Padura puts a human face on what might have otherwise been a stale chess match of ideology . . . wonderful translation by Anna Kushner supports the grand structure of the book, while maintaining Padura’s complex and muscular prose. He writes the sort of sentences that require confidence in the political import of literature, which we so rarely see these days in American authors . . . For an author who lives and writes in the intensely censorious Cuba, the publishing of this book represents not only an impressive artistic achievement but also an act of bravery.” —Nicholas Mancusi, The Miami Herald

“If Gabriel García Márquez’s Love in the Time of Cholera turned the romance novel into literature, and Mario Vargas Llosa, with Conversation in the Cathedral, applied French 1950s nouveau roman techniques to the political thriller, the Cuban writer Leonardo Padura, known for detective thrillers, has made his entrance to the Latin American Modernist canon by writing a Russian novel . . . Its Russian quality comes not only from its length—almost 600 pages—and the fact that it returns constantly to Moscow, but also from its Tolstoyan passion for historical trifles and Dostoyevskyan pleasure in examining the moral life of its characters . . . Mr. Padura’s novel tells [a] triple story without ever abandoning the general conventions of fiction. More concerned with the emotional life of its characters than with their historical roles, the novel still imparts a sense of reality, thanks to its deft handling of an astonishing quantity of information about Trotsky and Mercader’s lives . . . The three alternating stories resonate with one another, acquiring deeper meaning as they paint the complete fresco of a political paradigm’s downfall. Mr. Padura suggests that his three main characters, though playing very different roles, end up victims of the machinations of a system that discards them when they stop being useful . . . Ms. Kushner’s rendering of the novel in English brilliantly demonstrates her loyalty to the author’s voice. She nudges the English to give it a Cuban tone, respectful of the brutal efficiency of Mr. Padura’s Spanish, while never sacrificing the lyrical flourishes with which he occasionally bedazzles his readers.” —Alvaro Enrigue, The New York Times

“Spy-novel clichés and hard-boiled dialogue . . . keep the pages of The Man Who Loved Dogs turning . . . tension builds toward a dramatic climax that helps to make his novel a rewarding read.” —Bertrand M. Patenaude, The Wall Street Journal

“In this ambitious, at times gripping work of historical fiction, Padura re-creates the 1940 assassination of Leon Trotsky in Mexico. The novelist draws a surprisingly sympathetic portrait of the outcast Bolshevik, hounded by Joseph Stalin. Padura’s Trotsky is arrogant and intransigent but also extraordinarily resilient and industrious in exile, self-critical and prescient, and emotionally devoted to his loving wife and children . . . Padura laments the . . . snuffing out of credulous dreams of Cuban revolutionaries but notes that the Soviet Union collapsed when the terror and lies began to subside. It is not clear whether the novelist foresees the same fate for Cuba.” —Foreign Affairs

“Padura is one of Cuba’s leading writers, and this massive novel must be his masterpiece; it’s a brilliant, multi-layered examination of 20th-century history . . . With equal assurance and brio, Padura travels between Stalin’s Moscow, the Mexico of Frida Kahlo, and Spain and France in the turbulent years between the wars, to engineer an epic of lost illusions. Magnificent.” —Kate Saunders, The Times (London)

The Man Who Loved Dogs, by Cuban author Leonardo Padura, is a stunning novel, chronicling the evisceration of the Communist dream and one of the most "ruthless, calculated and useless" crimes in history. Spanning wide tracts of the globe, sweeping through some of the most tumultuous events of the 20th century and interweaving the lives of three wildly different characters, this monumental, intricately structured work recounts the events that lay behind the assassination of Lev Davidovich Trotsky in Mexico City in 1940 . . . It is a measure of Padura’s humanity and skill as a novelist that the reader can at times empathise with all three [central] characters despite their cruel actions and manifest flaws.” —John Thornhill, The Financial Times

“Cuban writer Padura delivers a complex, every deepening tale of politics and intrigue worthy of Alan Furst or Roberto Bolaño . . . Long but without excess; philosophically charged but swiftly moving. A superb intellectual mystery.” —Kirkus (starred)

“For some time, Cuban writer Leonardo Padura has been exploring his disenchantment with many of the realities of his beloved county through his novels about detective Mario Conde. But it is in his The Man Who Loved Dogs, just published in English, where his social and political reflections about socialism and freedom—in Cuba and beyond—reach their greatest depth . . . Contrary to the stereotype of robot-like Communists, Padura presents a nuanced view of a range of Communist personalities . . . Padura, living under Cuba’s sort of Communism . . . highlights Trotsky as a literary critic who affirms, without hesitation, that ‘everything is permitted in art.’ . . . Leonardo Padura is one of the principal representatives of a new intellectual and cultural ambience in the island that support the liberalization and democratization of Cuban society. But he is in a unique position in the Cuban system: though tolerated and even feted, his most critical work has not been made available to the broad public . . . The Cuban government wants to have its cake and eat it too: to relax some political controls and at the same time prevent the spread of ideas that may subvert its monopoly of power. Padura hasn’t been censored or repressed by the Cuban government. But similar to his narrator Iván, he has been made to matter much less than he should.” —Samuel Farber, Jacobin Magazine

“The man who loved dogs, in Cuban author Padura’s (Havana Gold) epic novel, is Jaime Lopez, an elderly Spaniard living in ’70s Havana who claims to have been a friend of the man who assassinated Leon Trotsky in Mexico in 1940. An accomplished braiding of history and fiction, the novel follows three attenuated strands. The first is the story of Iván Cárdenas Maturell, a politically incorrect Cuban writer who befriends the dog-loving Lopez. The second is an account of Trotsky’s life in exile, from Turkey and France to Norway, and, finally, Mexico, where he’s welcomed by his good friends, Frida Kahlo and Diego Rivera. And the third traces the radicalization of Ramón Mercader, who joins the Communist Party in Spain in the ’30s and is trained as a Soviet assassin. The novel dramatizes the long, slow collision course of Trotsky and Mercader. It also details Ivan’s relationship with Lopez and the ultimate revelation about his identity. Padura’s novel encompasses nothing less than a history of international communism after the 1917 Revolution. The story goes from the scorched earth of Spain in the 1930s, to the political hotbed that was Mexico in the 1940s, to Moscow during the Prague Summer of 1968, to Havana from the ’70s to the near present, where we learn of Ivan’s ultimate ironic fate, leaving the reader with the exhilarating feeling of having just experienced three entire lives.” —Publishers Weekly

The Man Who Loved Dogs is an excellent novel, rich in suggestions about the human condition and about our world that go beyond straight narrative history.” —Ricardo Senabre, El Mundo

“A novel of great force, and Padura’s best . . . [It] has great human density and an intense narrative dynamic.” —J. A. Masoliver Rodenas, La Vanguardia

Kirkus Reviews
★ 2013-10-20
Cuban writer Padura delivers a complex, ever deepening tale of politics and intrigue worthy of an Alan Furst or Roberto Bolaño. Best known as a writer of literate procedurals, Padura turns to a deeper mystery, and one that is fraught with danger in most of the communist world--namely, the 1940 assassination in Mexico City of the dissident Bolshevik Leon Trotsky. To tell the story, Padura inserts roman à clef elements: A writer much like him, Iván Cárdenas Maturell, has run afoul of the regime for supposedly counterrevolutionary thought, and now, he has been hustled off in a quiet corner to edit a veterinary publication. Ironically, he remains the true believer of his past, ascetic and convinced that the socialist path leads to heaven: "[T]here is nothing closer to communist morality," he remarks, "than Catholic precepts." Now unmoored, he meets an old man who owns a brace of hounds and who, it turns out, was the assassin who did Trotsky in. As Iván and the dying Ramón Mercader, who has lived a life "so full of tremendous convulsions," develop something that approaches a friendship, they chart the differences between the revolutionary generations of the 1930s and the 1960s, the point of view shifting back and forth to examine what might have worked and what certainly failed in the Soviet experiment. Trotsky, hounded by his longtime rival Josef Stalin, figures prominently in the narrative, querulous but rightfully aggrieved as he endures a life on the run; he can scarcely believe that "once the socialist dream was achieved, it would be necessary to call upon the proletariat to rebel against their own state." Yet, until his appointed destiny with Mercader, that is just what he busies himself doing, causing a schism that persists--and one in which Padura's aims will no doubt be argued over. Long but without excess; philosophically charged but swiftly moving. A superb intellectual mystery.
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Product Details

  • ISBN-13: 9781466837102
  • Publisher: Farrar, Straus and Giroux
  • Publication date: 1/28/2014
  • Sold by: Macmillan
  • Format: eBook
  • Pages: 592
  • Sales rank: 92,006
  • File size: 2 MB

Meet the Author


Leonardo Padura was born in Havana, Cuba, in 1955. A novelist, journalist, and critic, he is the author of several novels, two volumes of short stories, and several nonfiction collections. His novels featuring the detective Mario Conde have been translated into many languages and have won literary prizes around the world. The Man Who Loved Dogs was a finalist for the Book of the Year Award in Spain. Padura lives in Havana.

 

Anna Kushner was born in Philadelphia and first traveled to Cuba in 1999. She has translated the novels of Guillermo Rosales, Norberto Fuentes, and Gonçalo M. Tavares.


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Read an Excerpt


1
HAVANA, 2004
 
 
“Rest in peace” were the pastor’s last words.
If that well-worn phrase, so shamelessly dramatic in the mouth of that figure, had ever held any meaning, it was at that exact moment, as the grave diggers nonchalantly lowered Ana’s coffin into the open grave. The certainty that life can be the worst hell, and that the remains of fear and pain were disappearing forever with that descent, overcame me with paltry relief. I wondered if I wasn’t in some way envious of my wife’s final passage toward silence, since being dead, totally and truly dead, for some can be the closest thing to a blessing from that God with whom Ana tried to involve me, without much success, in the last years of her difficult life.
As soon as the grave diggers finished moving over the stone and placed the wreaths of flowers our friends had brought on the grave, I turned and walked away, resolved to escape the hands patting my shoulder and the habitual expressions of condolence that we always feel obliged to offer. Because at that moment every other word in the world is superfluous: only the pastor’s well-worn formula had meaning and I didn’t want to lose it. Rest and peace: what Ana had finally attained and what I also asked for.
When I sat down inside the Pontiac to await Daniel’s arrival, I knew that I was about to pass out, and I was sure that if my friend didn’t remove me from the cemetery, I would have been unable to find the way back to my life. The September sun was burning the top of the car, but I didn’t feel up to moving to any other place. With what little strength I had left, I closed my eyes to control the vertigo of loss and fatigue while I felt the acidic sweat running down over my eyelids and cheeks, springing from my armpits, neck, arms. It was soaking my back scorched by the vinyl seat until it turned into a warm current that flowed down my legs in search of the cistern of my shoes. I wondered if that foul sweat and my deep exhaustion were not the prelude to my molecular disintegration, or at least the heart attack that would kill me in the next few minutes. It seemed to me that either could be an easy, even desirable solution, although frankly unfair: I didn’t have the right to force my friends to bear two funerals in three days.
“Are you ill, Iván?” Dany’s question, through the window, surprised me. “Holy shit, look at how much you’re sweating…”
“I want to leave … But I don’t know how, dammit…”
“We’re leaving, my friend, don’t worry. Wait a minute, let me give a few pesos to the grave diggers,” he said, my friend’s words transmitting a patent sense of life and reality that seemed strange to me, decidedly remote.
Once again I closed my eyes and remained motionless, sweating, until the car was set in motion. Only once the air coming through the window began to calm me down did I dare to raise my eyelids. Before leaving the cemetery, I was able to see the last row of tombs and mausoleums, eaten away by the sun, weather, and oblivion, as dead as their inhabitants, and—with or without any reason for doing so at that moment—I again asked myself why, amid so many possibilities, some faraway scientists had chosen my name specifically to baptize the ninth tropical storm of that season.
Although at this point in my life I’ve learned—or rather have been taught, and not in a very nice way—not to believe in chance, the coincidences were too many that led the meteorologists to decide, many months ahead of time, that they would call that storm “Ivan”—a masculine name starting with the ninth letter of the alphabet, in Spanish, that had never been used before for that purpose. The fetus of what would become Ivan was spawned by the meeting of ominous clouds in the vicinity of Cape Verde, but it wasn’t until a few days later, already baptized and converted into a hurricane with all of its properties, that it would rear its head in the Caribbean to place us in its ravenous sight … You’ll see why I think that I have reasons enough to believe that only twisted fate could have determined that that particular cyclone, one of history’s fiercest, would carry my name, just when another hurricane was closing in on my existence.
Even though it had been quite a long time—perhaps too long—since Ana and I had known that her end was decreed, the many years during which we dragged her illnesses had accustomed us to living with them. But the news that her osteoporosis—probably caused by the vitamin-deficient polyneuritis unleashed in the most difficult years of the crisis in the 1990s—had developed into bone cancer, had made us face the evidence of an end that was near, and given me the macabre proof that only a perverse fate could be responsible for burdening my wife specifically with that illness.
From the beginning of the year, Ana’s decline had accelerated, although it was in the middle of July, three months after the definitive diagnosis, that her final agony began. Although Gisela, Ana’s sister, came frequently to help me, I practically had to stop working to take care of my wife; and if we survived those months, it was thanks to the support of friends like Dany, Anselmo, or Frank the doctor, who frequently came through our small apartment in the neighborhood of Lawton to drop off some supplies drawn from the wretched harvests that, for their own subsistence, they managed to obtain in the most devious ways. More than once, Dany offered to come help me with Ana, but I rejected his overtures, since pain and misery are among the few things that, when shared, always multiply.
The scene we lived between the cracked walls of our apartment was as depressing as can be imagined, although the worst thing, under the circumstances, was the strange power with which Ana’s broken body clung to life, even against its owner’s will.
In the early days of September, when Hurricane Ivan, having reached its full potential, had just crossed the Atlantic and was nearing the island of Grenada, Ana had an unexpected period of lucidity and an unforeseen relief to her pain. As it had been her decision not to go to the hospital, a neighboring nurse and our friend Frank had taken over the task of providing her with intravenous fluids and the dose of morphine that kept her in a startling lethargy. Upon seeing that reaction, Frank warned me that this was the denouement and recommended that I give the patient only those foods that she asked for, not insisting on the intravenous fluids and, as long as she wasn’t complaining of pain, stopping all drugs to thus give her some final days of intelligence. Then, as if her life had returned to normal, an Ana with various broken bones and very open eyes became interested again in the world around her. With the television and radio on, she fixed her attention in an obsessive way on the path of the hurricane that had initiated its deathly dance devastating the island of Grenada, where it had left more than twenty dead. On many occasions throughout those days, my wife lectured me on the hurricane’s characteristics, one of the strongest in meteorological history, and attributed its elevated powers to the climate change the planet was undergoing, a mutation of nature that could do away with the human species if the necessary measures were not taken, she told me, completely convinced. That my dying wife was thinking of everyone else’s future only added to the pain I was already suffering.
While the storm neared Jamaica with the obvious intention of later penetrating eastern Cuba, Ana developed a sort of meteorological excitement capable of keeping her on constant alert, a tension she escaped only when sleep conquered her for two or three hours. All of her expectations were related to Ivan’s doings, with the number of dead it left in its path—one in Trinidad, five in Venezuela, another in Colombia, five more in Dominica, fifteen in Jamaica, she added, counting on her crooked fingers—and, above all, the calculations of what it would destroy if it penetrated Cuba through any of the points marked as possible trajectories deduced by the specialists. Ana experienced a kind of cosmic communication at the point of the symbiotic confluence of two bodies that know they are destined to consume themselves in the span of a few days, and I began to speculate whether the illness and the drugs had not made her crazy. I also thought that if the hurricane didn’t come through soon and Ana didn’t calm down, I would be the one who ended up going crazy.
The most critical period—for Ana and, logically, for each of the island’s inhabitants—occurred when Ivan, with sustained winds of approximately 150 miles per hour, began to pass over the seas to the south of Cuba. The hurricane was moving with a lazy arrogance, as if it were perversely choosing the point at which it would inevitably turn north and break the country in two, leaving an enormous wake of ruins and death. With bated breath and her senses clinging to the radio and the color television that a neighbor had lent us, a Bible near one hand and our dog Truco beneath the other, Ana cried, laughed, cursed, and prayed with a strength that was not her own. For more than forty-eight hours she remained in that state, watching Ivan’s careful approach as if her thoughts and prayers were indispensable to keeping the hurricane as far away as possible from the island, blocking it in that almost incredible westward path from which it couldn’t resolve to deviate to the north and flatten the country, as all historic, atmospheric, and planetary logic predicted.
The night of September 12, when information from satellites and radars and the unanimous opinion of meteorologists around the world were certain that Ivan would chart a course for the north and that with its battering gusts, gigantic waves, and rain squalls, it would rejoice in the final destruction of Havana, Ana asked me to remove from the wall of our room the dark, corroded wooden cross that twenty-seven years before the sea had given me—the driftwood cross—and place it at the foot of the bed. Then she begged me to make her a very hot hot chocolate and some toast with butter. If what was supposed to happen happened, that would be her last supper, because the battered ceiling of our apartment would not withstand the force of the hurricane, and she, it goes without saying, refused to move from there. After drinking the hot chocolate and nibbling a piece of toast, Ana asked me to lay the driftwood cross next to her and began to pray with her eyes fixed on the ceiling and on the wooden beams guaranteeing its balance and, perhaps, with her imagination devoted to playing out the images of the apocalypse lying in wait for the city.
The morning of September 14, the meteorologists announced a miracle: Ivan had turned toward the north at last, but it had done so so far to the west of the designated zone that it barely brushed the westernmost point of the island without causing any major damage. Apparently the hurricane had felt remorse for the many calamities piling up, and had steered away from us, convinced that its passing through our country would have been an excess of bad fate. Worn out by so much praying, with her stomach ravaged by lack of food, but satisfied by what she considered to be a personal victory, Ana fell asleep after hearing confirmation of that cosmic whim, and in the grimace that had become habitual on her lips there was something very much like a smile. Ana’s breathing, strained for so many days, was relaxed again and, along with her fingers caressing Truco’s wiry hair, was the only sign in the next two days that she was still alive.
On September 16, practically at nightfall, while the hurricane started to disintegrate on U.S. soil and to lose the already diminished force of its winds, Ana stopped caressing our dog and, a few minutes later, stopped breathing. She was at last resting, I’d like to think, in eternal peace.
In due time you will understand why this story, which is not the story of my life (although it also is), begins as it does. And although you still don’t know who I am or have any idea what I’m going to tell you, perhaps you will have understood something: Ana was a very important person to me. So much so that, to a large degree, it is because of her that this story exists—in black and white, I mean.
*   *   *
Ana crossed my path at one of those all so frequent times during which I was teetering on the edge of a precipice. The glorious Soviet Union had started its death rattle, and the lightning bolts of the crisis that would devastate the whole country in the 1990s were beginning to come down on us. It was predictable that one of the first consequences of the national debacle had been the closing, due to a lack of paper, ink, and electricity, of the veterinary medicine magazine where for ages I had worked as a proofreader. Just like dozens of press workers, from typesetters to editors, I had ended up in an artisans’ workshop where we were supposed to devote ourselves, for an indefinite period of time, to making macramé crafts and polished seed decorations that, everyone knew, no one would be able to or dare to buy. Three days into this new and useless destiny, without even having the decency to quit, I fled from that honeycomb of enraged and frustrated bees and, thanks to my friends the veterinarians whose texts I have reviewed so many times or even rewritten, I was able to start working shortly after as a sort of ubiquitous helper in the likewise poverty-stricken clinic of the University of Havana’s School of Veterinary Medicine.
Sometimes I am so overly suspicious that I come to wonder if that whole series of global, national, and personal decisions (they were even talking about “the end of history,” just when we had begun to have an idea about what the history of the twentieth century was) had as its only objective that I be the one who received, at the end of a rainy afternoon, the desperate and dripping young woman who, carrying a shaggy poodle in her arms, appeared at the clinic and begged me to save her dog, which was afflicted with an intestinal blockage. Since it was after four o’clock and the doctors had already left, I explained to the girl (she and the dog were trembling from the cold and, observing them, I felt my voice falter) that we couldn’t do anything. Then I saw her break into tears: her dog was dying, she said to me; the two veterinarians who had seen him didn’t have anesthesia to operate on him; and since there weren’t any buses in the city, she had come walking in the rain with her dog in her arms, and I had to do something, for the love of God. Something? I still ask myself how it’s possible that I dared to, or if in reality I was already wanting to dare to; but after explaining to the girl that I was not a veterinarian and asking her to write her petition on a piece of paper and sign it, thus freeing me of all responsibility, the dying Tato became my first surgical patient. If the God invoked by the girl had ever decided to protect a dog, it had to be that afternoon, since the operation—about which I had read so much and seen carried out more than once—was a success in practice.
Depending on how you look at it, Ana was the woman that I most needed or who was least advisable for me at that moment: fifteen years younger than me, too undemanding in the way of material things, horrible and wasteful as a cook, a passionate dog lover, and gifted with a strange sense of reality that made her go from the most eccentric ideas to the firmest and most rational decisions. From the beginning of our relationship she had the ability to make me feel like I had been looking for her for many, many years. That’s why I didn’t find it strange when, a few weeks into the calm and very satisfactory sexual relationship that began the first day I went to the house where Ana lived with a friend to give Tato an IV, the girl threw her belongings into two backpacks and, with her ration book, a box of books, and her nearly recovered poodle, moved into my damp and already peeling apartment in Lawton.
Besieged by hunger, blackouts, the devaluation of our salaries, and a transportation standstill—amid many other evils—Ana and I lived through a period of ecstasy. Our respective scrawniness, accentuated by the long trips we made on the Chinese bicycles that our workplaces had sold us, turned us into almost ethereal beings, a new species of mutants capable, nonetheless, of dedicating our remaining energies to making love, to talking for hours, and to reading like fiends—for Ana, poetry; for me, a return to novels after a long time without them. But they were also unreal years, lived in a dark and sluggish country, always hot, that was falling apart day by day without quite falling into the troglodytic primitiveness that threatened us. And they were years in which not even the most devastating scarcity was able to stamp out the joy that living together brought Ana and me, like the shipwrecked who tie themselves to one another to either jointly save themselves or perish together.
Apart from the hunger and the material shortcomings of all kinds that besieged us—although between us we considered them outside us and inevitable, and thus foreign to us—the only sadly personal episodes we experienced at that time were the revelation of the vitamin-deficient polyneuritis that Ana began to suffer from and, later on, the death of Tato at the age of sixteen. The loss of the poodle affected my wife so much that, a couple of weeks later, I tried to alleviate the situation by picking up a stray pup infected with mange, whom Ana immediately started to call “Truco” due to his ability to hide, and whom she fed with rations taken from our paltry survivors’ diet.
Ana and I had achieved a level of such rapport that, one night, under a blackout, with ill-contained hunger, unease, and heat (how was it possible that it was always so damned hot and that even the moon seemed to shed less light than before?)—as if I were just carrying out a natural need—I began to tell her the story of the meetings that, fourteen years before, I had had with that character whom I had always called, from the very day I met him, “the man who loved dogs.” Until that night on which, almost without prologue and as an outburst, I decided to tell Ana that story, I had never revealed to anyone the subject of my conversations with that man and, less still, my delayed, repressed, and often forgotten desire to write the story he had confided in me. So that she would have a better idea of how I’d been affected by the proximity to that figure and the dreadful story of hate, betrayal, and death that he’d given me, I even gave her some notes to read that many years before, from the ignorance I wallowed in at the time, and almost against my own will, I had not been able to keep myself from writing. She had barely finished reading them when Ana stared at me until the weight of her black eyes—those eyes that would always look like the most living thing of her body—began to berate me and she finally said, with appalling conviction, that she didn’t understand how it was possible that I, especially I, had not written a book about that story that God had put in my path. And looking into her eyes—those same eyes now being eaten by worms—I gave her the answer that had slipped away from me so many times, but the only one that, because it was Ana, I could give her:
“Fear kept me from writing it.”


 
Copyright © 2009 by Leonardo Padura
Translation copyright © 2014 by Anna Kushner

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