Never published in Cuba, it had to be smuggled abroad. Translations of the novel soon appeared, to critical acclaim, in half a dozen languages. In France, it was nominated for another prize—the Prix Médicis, for best foreign novel of the year (1969). Here was a brilliantly inventive, comic novel written by a Latin American Gorky, a Cuban peasant raised from the stark brutality of his impoverished childhood in rural Oriente Province, from an island once ruled by a capitalist dictator he had helped to overthrow, joining the rebels in the Sierra Maestra as a young teenager, a rural foundling whom now the Cuban revolution had generously lifted out of ignorance and, behold: turned into a writer!
Meanwhile, at home curious things began to happen to Reinaldo Arenas, the writer, who could no longer publish in Cuba. Like Fray Servando before him, he found himself caught in an age of wars and revolutions, militant fervors and fanatical conflicts of ever spiraling dimensions. For here was another man of letters from another splendid Age—that of Twentieth-century Progress—who had too late realized that the old Colonial Spanish interdiction against fiction (and Eros) in the New World, had yet to be lifted in his utopian Caribe paradise. “You and I are the same person,” he had prophetically warned Fray Servando, in a prefatory letter to Hallucinations—or warned himself.
In 1970, Arenas was sent by UNEAC as a military recruit to a rural sugar mill, where he was expected to make his contribution to Fidel Castro’s improbable goal of a ten-million-ton harvest by cutting cane and writing a book in praise of the experience. Instead, he composed the furiously inspired rebuttal to that inhuman experiment: El Central (A Cuban Sugar Mill), which was also smuggled out of the country. It was during this period that the idea of a pentagonía began also to mature in the author’s mind: five novels or “agonies,” each depicting the life of a poet, who would live, write, suffer, and die, only to be reborn in the following novel. Together they would comprise “the secret history of Cuba.” Arenas had nothing but contempt for “visible” history, as blind as “a file of more or less chronologically ordered manila folders.”
The first volume (Singing from the Well), the poet as inspired wild-child, had already been written and published as Celestino. The second volume, The Palace of the White Skunks, smuggled out in 1972, recounts the adolescent dreams of a sexually ambivalent Fortunato, raised in a house of frustrated aunts, a tyrannical mother, and two ferociously primal grandparents. When the family abandons the farm and moves to Holguín, where his furiously taciturn grandfather hopes to open a grocery to put some food on the table, Fortunato decides to join the rebels in the Sierra Maestra, only to be captured while clumsily attempting to wrest a rifle from a Batista recruit, after which he is tortured and executed by government soldiers on the eve of the Revolution’s (January, 1959) triumph. Here, Arenas has created a haunting family portrait, combining the lyrical empathy of a Tennessee Williams toward his characters’ troubled lives with a radically fractured narrative that pays dark tribute less to Faulkner than to the schizophrenia of life under any dictatorial extreme.
The third volume, Farewell to the Sea, is arguably Reinaldo’s finest novelistic achievement within the Pentagonía. It had to be written three times, the first in 1969, when it was destroyed by a friend who was supposed to be hiding it away, chapter by chapter, as Reinaldo wrote it. A second version was confiscated by the authorities in 1972; and the present version, smuggled out in 1974, while Reinaldo was in prison. It was published in a (purposefully?) mangled and truncated version in Spain, in 1982, which quickly went out of print. There eventually followed an incompetently translated and dreadfully edited version in France, in 1987, which languished for years in a prohibitively expensive edition. That same year saw an English edition of the work come out here in the States, in Andrew Hurley’s magisterial translation. Until quite recently, this was the only readable—or available—version of the work in any language.
The final draft of the novel inevitably reflected Arenas’s growing desperation, as a writer and as a homosexual. He had been arrested in the summer of 1973, on trumped up charges of “seducing minors.” The experience is related factually in his memoir Before Night Falls, and comically fictionalized in The Color of Summer, the fourth volume of the Pentagonía. Suffice it to note that the two masculine minors, who had actually stolen Arenas’s underwater gear at the beach, turned out to be well above age and recanted their testimony at the trial. A contemptuous judge still managed to find him guilty of counterrevolutionary activities, in part through Arenas’s UNEAC file (signed by, among other cultural commisars, the Cuban poet Nicolás Guillén) which confirmed that he had smuggled unauthorized manuscripts out of the country. After a bizarre escape (rivaling even Fray Servando’s bravado) from the local prison near the beach, he was finally recaptured and sent to various prisons and forced-labor camps (for “re-educating” homosexuals), including the notorious El Morro prison, where his semifictional mentor had been imprisoned two centuries earlier.
Farewell to the Sea is set, like the previous novel, on the eve of an anticipated triumph that will produce unmitigated disaster: Fidel’s trumpeted goal, for 1970, of the ten-million-ton harvest. The novel is completely divided, one might say severed, into two parts: the second part composed of six furious cantos, sung in silence to the ocean by Hector, a poet who no longer writes, or is no longer allowed to, away on a six-day vacation at the beach. He has endured the forced-labor of the cane fields as a “volunteer.” He has entered a sham-marriage (though the union is not devoid of genuine, sometimes heartbreaking affection), and even fathered a child, in order to avoid the charge of homosexuality. At the beach he has an affair with a young boy who on the sixth day mysteriously drowns. The first part of the novel is told in prose by Hector’s wife, who genuinely loves him but does not seem to be his intellectual or emotional equal. She often feels awkward with him; he rarely talks to her anymore, finds her mawkish and sentimental. She recognizes intuitively what he is, but is still hopelessly drawn to him, perhaps in part because of the very horror of the death-in-life that totalitarianism has imposed upon them both. And yet, in her silent musings—upon the ocean, the beach, the groves of trees, the flight of birds, and even the young boy who has seduced (is seduced by?) her husband—which fill the six days of their holiday, she reaches a level of lyricism unsurpassed by her broken husband. Each of them carries, sealed up in themselves, “a secret history” that, by the end of the novel, destroys their illusory existence.
Arenas had entered a similarly arranged marriage, in a vain attempt to ward off the sexual witch hunt that grew to a Stalinist frenzy in the Havana of the late sixties and early seventies, until the grotesqueness of it finally outraged the intellectual fellow travelers of Europe and the Americas. It must be remembered that, in those days, even Manuel Puig’s now classic 1976 novel Kiss of the Spider Woman was artistically frowned upon by his previous Latin American admirers to the extent that it placed in the same prison cell an aging, reactionary homosexual and a homophobic young marxist—just to see what might happen.
From the time Arenas finally settled in New York in 1981 until his death, he had one incredible stroke of publishing good fortune. He found an editor, Kathryn Court, who, despite the prevailing intellectual climate, not to mention the financial prospects, short term or long, promised to publish the entire Pentagonía in English. This gave Reinaldo hope and carried him through the darkest hours of his struggle with AIDS. When he first tested positive for HIV, in 1987, he prayed to a photograph of “Saint” Virgilio Piñera he kept above his desk, asking him for another three years to be able to finish the remaining two volumes of his Pentagonía.
Saint Virgilio was listening. In the late 1980s, a barely legible manuscript of the fifth volume, The Assault, turned up in New York and Reinaldo set to work deciphering and revising it. A dark parable of absurdist dystopia, in the tradition of Dostoyevsky’s Notes from the Underground, Kafka’s The Penal Colony, and Orwell’s 1984 and Animal Farm, Arenas’s savagely comic tale is told by a torturer,
a slavish, venomous agent from the Bureau of Counterwhispering. Indeed, his mind is so twisted by the nihilistic mechanics of a society that has been finally reduced to an indestructible system of destruction, he can only discover a kind of warped solace in the thought of somehow destroying his own mother. This ferocious quest for a kind of incestuously murderous exorcism takes him, and the reader, though every social layer of this hell. The chapter headings, borrowed from the chapter headings of a variety of other literary and esoteric works, including some of the author’s, serve to heighten the dissonance of the novel. This was to be the final apocalyptic vision of a revolution gone mad.
Now, Arenas had only the fourth volume to write: The Color of Summer. (Weakened by AIDS, he would be forced to dictate his autobiographical memoir, Before Night Falls.) The novel is a remarkable comic achievement, lending new meaning to the old adage: divide and conquer. For in this Carnivalesque celebration of the fiftieth anniversary of the Cuban revolution (actually the fortieth, but the dictator Fifo is ever prone to exaggeration), Arenas divides himself into three characters—Gabriel, the dutiful “straight” son; Reinaldo, the famous “persecuted” author; and Skunk in a Funk, the conniving pícaro “faggot”—in order to take his pleasure, and his revenge, while writing and rewriting and, yes, rewriting a novel called The Color of Summer. The book gives the illusion of being a slapstick hodgepodge of high and low styles, of comical vignettes skewering friend and foe alike, mixed with tongue twisters, letters, anecdotes, lists, a play at the beginning, and an author’s “Forward” seemingly stuck at random in the middle. By the end, the island has been gnawed away from its rocky base and floats off into the Gulf Stream until it finally sinks.
This deceptively casual structure was born of necessity: Arenas did not know exactly how long he had to live. So each little vignette is in fact quite carefully structured as a complete entity unto itself, just in case it might suddenly be the last. And the novel was fitted together additively, so that not only the island may be atomized at any moment; so may the book. As Reinaldo suggests in his “Foreword,” he is offering his reader, literally, a comically “cyclonic” or “round” novel, which “. . . never really begins or ends at any particular place; readers can begin it anywhere and read it until they come back to their starting point. . . . But please don’t take that as either a merit or a defect—just a necessity that is intrinsic to the structure of the work.” It is a work of astonishing playfulness and equanimity for an author already ravaged by what he considered to be the first inhuman plague and, most likely, invented by modern science.
On December 7, 1990, Reinaldo Arenas committed suicide in his New York apartment. No longer capable of managing the stairs to his sixth-floor walk-up, terrified of being sent to a public hospital (the previous year, a private hospital had “released” him in the middle of the night—no insurance—with pneumonia), unable to swallow solid foods, he told me: “I’ve lost my country and my language, the meaning of anything I ever wanted to say. Thanks to Virgilio, I’ve managed to finish my books. There’s nothing left.” He was forty-seven.
Two years after his death, Reinaldo’s memoir, Before Night Falls, was published to unprecedented acclaim in France and in Spain, where Vargas Llosa hailed it as “One of the most shattering testimonials ever written . . . on the subject of oppression and defiance.” An American edition soon followed, in a haunting English version by Arenas’s friend Dolores Koch, which The New York Times’s critics selected as one of the Best Books of the 1993. Arenas had become one of the greatest dissident authors not just of Cuba, but of the Cold War. Though he hated Castro’s Cuba, he could be just as scathing about Batista’s. A passionate anti-communist, he showed little love for American intellectuals, “who think about nothing but the state of their bank accounts.” He described Miami as “a town that I do not wish to remember.” He found New York sex a mechanical and dirty transaction, and the brutish pedestrians obsessed with little more than scurrying home to their television sets.
And yet, my friend, this is the only place in the world where one can survive—I say that with all my heart, because I say it without illusions.
He wrote this in a letter to himself, or rather Gabriel did, in The Color of Summer.
Not many dissident authors have survived the Cold War. Some of course were destroyed by it, never returning from the various concentration camps that have dotted the maps and graveyards of the twentieth century. Others became as irrelevant as the posturing of opposing forces that have settled back, winners or losers, into the wholly calculated pursuit of strictly capital ambitions. Their books, discarded by publishers and libraries, could still be picked up for a time, in those last few years of the millennium, at used bookstores or the second-hand peddlers’ tables often seen on parts of upper Broadway or lower Fifth Avenue, in Manhattan.
Does a dissident author ever survive of his dissidence? In rereading the Pentagonía to write this essay, I found a different writer than the one I had experienced in the past. When I first read Reinaldo Arenas, as he was editing and rewriting his works, I had been overwhelmed by the discordant power of his dazzling invective. Now, some ten years after his death, I am continually astonished at the pathos and beauty of his creations. I sense that I am in the hands of a writer of enormous confidence, empathy and resilience. I realize, for example, that I have never read another novelist who writes so lyrically or intimately about the sea—not about life at sea, like Melville or Conrad, but about the sea itself. Throughout his works, Arenas has scattered one invocation after another, in every conceivable condition of light, hour, and weather, summoning the always shifting colors and textures, the ceaseless change and endless repetition of his vast, beloved sea. I understand now why it finally took a painter, Julian Schnabel, to make a film worthy of him, with Before Night Falls. For Arenas himself was a luminous painter of the human soul; and, to the very end, used his gifts to uncover the poetry of a dark and darker world.
Thomas Colchie
March, 2001
NOTICE TO THE AUDIENCE
Extremely important. Please read.
Before the play begins, we are obliged by law to advise all persons wishing to attend the play that the rules of the drama require that one spectator be chosen from the audience to be shot and killed during the performance. Neither management nor author assumes any resposibility for this voluntary death.
All persons are hereby notified that entering the theater may result in their death by gunshot.
For insurance purposes, upon purchase of a ticket of admission each spectator is required to sign in the space below, attesting that he or she understands these conditions and agrees to abide by them.
I have read the paragraphs above and understand them. I am aware that attending this play may result in the loss of my life by gunshot during the performance, and by signing below I agree to accept that condition of my attendance.
Name of audience member, date
Address
A l s o b y R e i n a l d o A r e n a s
~
SINGING FROM THE WELL
THE PALACE OF THE WHITE SKUNKS
FAREWELL TO THE SEA
THE ASSAULT
THE ILL-FATED PEREGRINATIONS OF FRAY SERVANDO
BEFORE NIGHT FALLS: A MEMOIR
THE FLIGHT OF GERTRUDIS GÓMEZ DE AVELLANEDA
A light comedy in one act
(of repudiation)
SETTINGS : The Antilles and their surrounding waters (the Atlantic Ocean and the Caribbean Sea)
Key West
The Malecón in Havana.
TIME : July 1999.
DRAMATIS PERSONAE :
On the sea: Gertrudis Gómez de Avellaneda
José Martí
On the Malecón:
(In order of appearance)
Halisia Jalonzo
Virgilio Piñera
Fifo (played by a double)
Delfín Proust (also in Key West)
Nicolás Guillotina
Dulc
e María Leynaz
Tina Parecía Mirruz
Karilda Olivar Lubricious
H. Puntilla (also on the sea and in Key West)
José Zacarias Talet
A chorus of rehabilitated prostitutes
Rita Tonga
Paula Amanda, a.k.a. Luisa Fernanda
Odiseo Ruego (also in Key West)
Endinio Valliegas
José Lezama Lima
Julián del Casal
Chorus on the Malecón in Havana:
Made up of minor poets such as Cynthio Métier, Retamal, José Martínez Mata, Pablo Amando, Miguel Barniz, and a hundred or so others; also including members of the Comité para la Defensa de la Revolución (a.k.a. the Watchdog Committee), midgets, high-ranking military officers, and anybody else that’s on the Malecón at the time.
In Key West:
(In order of appearance)
The Color of Summer: or The New Garden of Earthly Delights Page 2
