Havana Noir

by Achy Obejas

  The other photos were busier. People strolling on La Rampa, cars on Paseo and Avenue of the Presidents. Coppelia without lines, with satisfied customers eating different flavors of ice cream.

  Since the man I was meeting took his time, I looked at the photos and then at the city from the balcony next to the office. There are little homemade structures all over the rooftops, mansions turned into barracks, houses that can barely stand. The rooftops have become dovecots. There are fields of laundry lines; residue of homeless people; plants that grow between the tiles on the eaves; dogs that can’t be kept inside anymore so that instead of guarding homes, they’ve turned into lookouts who scan the horizon. Sun-drenched treetops, humid and green; church steeples. Little gray streets, a few cobblestone, which intersect, sometimes timidly, as if hiding from the multitudes. And then the sea, always lying in wait, and the Malecón which keeps us safe. It’s a wall of lamentation, the entrance to and from the country of Never Again, a fixture on postcards and calendars. Therapy for my mother.

  Every time my mother could gather her strength to get up, she’d ask me to take her out on the terrace. With the very first remittance sent by my brother from San Francisco—once he realized that experiencing the spectacle of my mother in the process of dying would affect his biorhythm and would keep him from his successful life as a designer—I bought a lounge chair, a down pillow, and a thin mattress pad, and she began to spend her hours sitting out there. I brought her books. But later I realized she preferred chatting. Still later, it became clear that what she wanted more than anything was to gaze at the part of the city that was ours. One day she said, in a whisper, that she’d never had much time to look at the sky and that the clouds passed much too quickly.

  On those afternoons, she discovered a million things. She heard the sound of the bells from San Juan of Letrán and the songs from the day care center nearby; the whistle of the scissors sharpener; the riot of pigeon wings on the roof across from us. And then, as soon as the sun started buzzing on the water, I’d take her back to her room.

  We talked about the buildings around us and what they might be like inside. We would describe those we’d actually visited and later make ambitious plans about how we would renovate them without tearing down the original structures.

  I had time to think about all this until the man I was meeting came and asked me into his office. Almost giddy as he spoke, he explained that our building would be going through a major renovation, and that the current tenants would be given new housing according to their needs. I explained that we needed to stay. I told him about the situation with my mother and that I wasn’t sure we could move her.

  The man understood that my situation was delicate. But so was his. He had plans to complete, deadlines and tasks, expenses that had been given the okay in order to procure resources. Everything was architecturally and financially aligned. Emptying the building was just the first task. But he could give me an extension. I smiled—sometimes I can be truly charming—and thanked him. As we were saying goodbye, I felt that he wanted to say something, maybe just the usual good wishes for recuperation, but he seemed to think better of it and kept quiet.

  That same day, I met with the doctor; I was ready to have my mother at home until the day she died. I explained about the therapeutic qualities of the terrace, how she delighted in the architectural view, the sea, and the dawn. I told him I’d been born in that neighborhood, in that house, and that my mother felt in her element there. I said nothing about the plans to empty out the building.

  The doctor was glad to hear our home was fresh and high up, with sun and light, air and space. He was also glad it had such a good view of the water and said that Vedado reminded him of Manhattan. I nodded so he’d feel comfortable and I got his approval. He told me that if I made sure we had the proper conditions, I could keep her there until she died.

  I then quickly talked to him about my brother and his help. The doctor asked if my brother had any plans to visit my mother. I lied, saying that his papers were still not in order and that he suffered a lot because he couldn’t come.

  A few weeks after that, my neighbors began moving out of the building, many coming by for a last goodbye. But my mother didn’t pay much attention to them. The morphine and phenobarbital left her with just a few lucid moments, and I took advantage of them to bring her out on the terrace, where we would continue “renovating” Vedado. Everyone asked when we were leaving. Everybody was very concerned about the work on the building and how soon even the most minimal of services would be unavailable. I calmed them down, saying that everything was ready, that I’d made the pertinent arrangements with the hospital to comfortably transport my mother using a powerful anesthetic the minute the psychologist determined it was appropriate.

  After they all left, there came a happy time, having a sixteen-story building all to ourselves, knowing that no neighbor would stop me in the hallways to ask me the same things: how she was this morning, how much morphine she was taking, if she was eating, when my brother was coming, and, poor woman, what bad luck…I never gave an honest answer: My mother woke up radiant every day, spent hours entertained with her 2000-piece jigsaw puzzles (her collection of puzzles, all famous portraits, was well known), and the morphine was just so she’d sleep quietly. The stampede out of the building spared me the obligation of lying to them all, though I’d never felt the slightest bit guilty about it.

  The best part was the sensation that came over me when I arrived home after getting morphine, or juice, or phenobarbital, the syringes, or something for her cravings. I walked 17th Street in the shade of the laurel trees and came in the entrance without worrying about the manager, vendors, or people looking to trade housing, knowing that I had exclusive rights to the place. There was no one murmuring behind the doors that my brother was a jerk who thought money could solve everything, or that I have a heart of steel and what I really wanted was for my mother to finally die. The theories vary on this last hypothesis.

  The simplest one is that I’ll finally be able to go live with my brother. The truth is that we were always very close; the two of us would play house, and cowboys, and later we both ended up studying art and architecture. He adored the houses designed by Le Corbusier and I was taken by the Impressionists. Now he’s in San Francisco, sending money so I don’t need to do anything other than care for our mother until she dies.

  Another theory, which requires more neighborly shrewdness but is actually expired, is related to the Sorbonne professor who used to visit me because he was interested in the Cuban movie posters I had once researched. He would come by frequently, long after he’d viewed the entire national poster collection, finished his thesis, and curated his exhibit. Then the real goal of his visits became sleeping together as much as possible, to which I had no objections. Just around the time my mother got sick, he invited me to Paris to give a series of presentations on how the French posters of 1968 had influenced Cuba. Though I wrote out my script at first, I ultimately answered that I could not travel because of my mother’s illness. And I apologized, as though my mother’s death were a mere inconvenience disrupting his magnum plans. He has never written again.

  For those neighbors who don’t sign on to either of those two theories, there’s a more general option, which doesn’t really pin anything concrete on me. According to this one, I want to be free so I can do whatever I want, like sleep with lots of men and women; drink until I fall on my ass; smoke marijuana and take pills and watch a lot of porno films on giant screens with quadraphonic sound. In other words, to manifest this dark side which my ex-neighbors insist on having seen in me since I was a little girl. They’re convinced that my mother not having left for paradise yet is the only reason I haven’t descended into hell.

  Now that we’re without them—they’re far away, furnishing other homes and surely missing Vedado and its excellent bus routes (on which no buses actually pass) and its movie theaters (always without air-conditioning in the summer) and Coppelia (with its
serpentine lines) and the Malecón (which is the only real populated part of Vedado, because it’s free)—my mother and I are quite content.

  She doesn’t know that the neighbors have moved out and so she innocently enjoys the magical breeze that has blown away the radio and its shrill music, the hammering at 6 in the morning, dogs barking all through the night, fights between parents and children, brothers and sisters, husbands and wives.

  A little after the neighbors left, our phone was disconnected. I thought God was on my side. In any case, I’d had it off the hook for most of the last few weeks. That was how I had avoided giving a health report every five minutes to the curious; the worst part was hearing their comforting words and the sense that, behind them, there was such relief that it was my mother and not theirs who was about to ride with Charon.

  When they cut the gas, I started using the two-burner hotplate we kept for emergencies. My mother was eating less every day. So when we finally lost our electricity too, there wasn’t much to worry about.

  I fired the nurse, who cried a bit as she showed me how to give my mother her shots, regulate the oxygen pump, take her blood pressure, and raise the Fowler bed to the right height so my mother could get up. I also learned to smile when I wanted to cry and to convince myself that she was going to die anyway.

  We have been very happy here, my mother and I, absolute rulers of this beautiful building in ruins, I thought as I left the terrace to answer my mother’s call on the last night in my neighborhood. When I went back, the city was black. I imagined that the tourists on the cruise ship—the only line of lights on the water—must have a very interesting view. What must it be like to face a city completely in the dark?

  When my mother called me—thank God the building’s empty or the neighbors’ noises would have never let me hear her, especially now that her voice is not much more than a whisper—she said she was very tired. But it wasn’t exactly a complaint, more of a statement of fact. My mother, who had never been the kind of Catholic who sat in church pews or wore chains with little crucifixes, had had a priest visit just a few days before.

  I had tried to make sure the priest was as young as possible, so he could make it up all fourteen flights. I found one who did all his rounds on a bike, so that the elevator not working didn’t strike him as a great obstacle. Nonetheless, he was exhausted when he arrived and needed some time to get himself together out on the terrace, looking at the sea and the nearby buildings. He said it gave him a great deal of peace. I told him about my mother, how much she enjoyed it too, and that I’d found a way for her to have pleasant days out on those few square meters. I didn’t tell the priest that we only had a few days before we had to move out of the building.

  They spent four hours chatting. I spent the time sitting back on my mother’s lounge chair, with her pad and her pillow, trying to see our view of the city through her eyes. I imagined her opening her eyes in the hospital or in some other house. And then I closed my own eyes firmly to shut out this image.

  After the priest’s visit, my mother slept for forty-eight hours straight. I think the absence of telephone, electricity, and neighbors helped. I don’t think it rained, or that the north wind blew, that humid breeze that smudges the windows and gives Vedado an air of impatience and cosmopolitanism. I think that after this dialogue with God, my mother began preparing herself to die.

  Now, with tonight’s deadline approaching, I hear her say in a weary voice that she’s very tired. It’s midnight and she doesn’t even have the strength to stir in bed. Anyway, there’s nothing to see outside. Nor inside either. I’m going to find the battery-powered lamp in the kitchen so I can look at the calendar, the one that reminds me that we must leave the building tomorrow and that my mother still has two weeks of life.

  I come back with the lamp and she’s fallen asleep, complaining through her dreams. What must it be like to never get relief, even from sedatives? Or to close your eyes and not open them again? Or to spend your last days in a strange place?

  I start to fix the syringe. I do it very slowly, and it’s not because I’m clumsy; I’ve actually gotten quite agile with this business of giving shots. I review all the decisions I’ve made in the last few days. After my mother passes, I will not go to San Francisco; there’s nothing for me there. It’s possible my presence would disrupt my brother’s biorhythm and inhibit his successful life as a designer.

  Nor will I go to Paris to look for the poster man. A person who’s incapable of writing two lines to ask about my sick mother is not anyone I can trust. In any case, I’ve got my presentation written. It doesn’t matter to me if it gets published. It felt good to write it. It was like old times, as if my brother and mother were out on the terrace with me, with our toy soldiers, dolls, or jigsaw puzzles, depending on the day.

  Now I hold the syringe in my right hand. I make sure the needle can spit out the first few drops, which indicate all is well, and I make my way to the bedroom. I don’t need the lamp. I’ve gotten to know my mother’s body well in these dark but blissful days. I should move out of the building tomorrow. With my free hand, I go to the calendar and mark off my mother’s dying day. And then I go to her.

  Translation by Achy Obejas

  STARING AT THE SUN

  BY LEONARDO PADURA

  Marianao

  It’s been two hours I’ve been staring at the sun. I like to look at the sun. I can look at the sun for an hour straight, without blinking, without tears.

  I’m still staring at the sun, leaning against the wall at the corner, listening to the old women as they come out of the bakery, complaining about how shitty the bread is but eating it anyway cuz they’re dying of hunger. On this corner, you can smell the smoke from the buses as they pass by on the avenue, the stink from the many dogs who think they’ve found something in that awful piece of bread, the bitter stench of desperation, like in that shitty song my mother likes. It’s a disgusting corner and I think I like it even more for that very reason; I spend huge chunks of time here, waiting for something to come along, just staring at the sun. I’m singing a little bit of that song and don’t notice when Alexis comes up.

  “Hey, man, what’s going on?” he asks.

  “Nothing. You?”

  “Hanging.”

  “Cool,” I say, looking at Alexis. I suppose Alexis is my best friend. We’ve known each other from before we even went to school, from when his father and mine worked together at the Ministry. Later, they fucked over Alexis’s dad, but not too much, cuz he had good friends. They didn’t even take his car, although they did relieve him of his gun. That, yeah.

  “Let’s go get a liter,” he says.

  “Who’s got some?”

  “Richard El Cao.”

  “C’mon,” I say, and I forget about the sun and the bitter vapors…Fuck, it’s actually the bitter taste of desperation. Same shit.

  El Cao always has liquor. Sometimes it’s good. Sometimes he also has pills. He gets them easily: He steals a script from his mother, who works as an administrator at a hospital, and he signs her name, and then they give him the best pills at the pharmacy. Easy, right? But there are no pills today. We took the last ones yesterday, with four liters of liquor. Yesterday was fucked up.

  Now we’re drinking, not talking. It’s always like this: At first, you hardly talk. It’s as if your brain goes dead for a while. Later, we talk a bit, especially if we pop some pills. Alexis and El Cao talk the most.

  After we’ve been drinking awhile, Alexis says, “There’s a fight today.”

  “At El Hueco?” El Cao asks.

  Alexis nods.

  “I don’t have any money,” El Cao says.

  “Me neither,” I say.

  “I do,” Alexis says, and since he’s been drinking, he tells the whole story of how he got the cash: There were about twenty liters of oil, the good cooking kind, in the trunk of his father’s car, and he stole three. He sold them, so he has money. Three hundred pesos.

  “Let’s go,”
says El Cao.

  “Let me finish,” says Alexis.

  We drink a little more. This liquor’s pretty good. When we finish drinking, that’s when we leave.

  When we arrive, the fight hasn’t started yet. We’re told today it’s Yoyo’s stanford against Carlitín’s boxer. I like the stanford. His name is Verdugo and he’s won like twenty fights. He almost always kills the other dog. The boxer is also somewhat famous: His name is Sombra and they say once he clamps down, he doesn’t let go. There are already twelve people here, waiting. There are two black guys, with their gold teeth and Santería necklaces around their necks. They must be Carlitín’s friends. He’s always hanging out with black guys like that. He has business dealings with them, and sometimes he pulls jobs with them too.

  The betting begins. Alexis puts his three hundred pesos on Verdugo. I tell him to set aside fifty, for another liter in case he loses. But he says no, that there’s still plenty of cooking oil in his father’s car and Verdugo’s gonna win.

  They set the dogs. And everybody’s screaming. Myself included. They let them loose. Verdugo sinks his teeth into Sombra’s shoulder, drawing blood on the very first bite. It’s practically black, this blood. Drops of this practically black blood swirl around Verdugo’s mouth and drop on the ground. Then the screaming intensifies. Sombra starts to turn and gets ahold of Verdugo’s paw. He’s gonna tear it off. Verdugo’s gonna leap right over him and Sombra’s unaware. Then Verdugo hits his neck. Carlitín and Yoyo jump in to separate them but Verdugo won’t let go, and neither will Sombra. They jam sticks in their mouths to control them. Sombra lets go first but comes around the side; Verdugo still won’t let go. Yoyo finally pries his mouth open and Sombra drops: Two streams of blood pour from his neck, even blacker and thicker. The boxer’s dead. Everybody’s still shouting and the losers start to pay up. Carlitín kicks his dead dog. Alexis gets his winnings, two hundred pesos, and tells one of the black guys to pay the hundred they bet. The black guy says the fight was bullshit. Alexis says he doesn’t give a shit about that, what matters is his hundred. The black guy says he’s not paying shit. Alexis says he can stick it up his ass. The black guy pulls a piece and sticks it in Alexis’s face.