Grab a Snake by the Tail

by Leonardo Padura

  Leonardo Padura was born in Havana in 1955 and lives there with his wife Lucía. A novelist, journalist, and critic, he is the author of several novels, one collection of essays and a volume of short stories. His Havana series crime novels featuring the detective Mario Conde, published in English by Bitter Lemon Press, have been translated into many languages and have won literary prizes around the world. Padura’s recent novels, The Man Who Loved Dogs and Heretics, have cemented his position among the best authors in world literature. In Grab a Snake by the Tail, Padura returns to his roots as a crime writer, taking his hero, Police Lieutenant Mario Conde, into the dark and dangerous streets of the Barrio Chino, Havana’s Chinatown.

  ALSO AVAILABLE

  FROM BITTER LEMON PRESS

  BY LEONARDO PADURA

  The Man Who Loved Dogs

  Heretics

  Havana Red

  Havana Black

  Havana Blue

  Havana Gold

  Havana Fever

  GRAB A SNAKE BY THE TAIL

  Leonardo Padura

  Translated by Peter Bush

  BITTER LEMON PRESS

  LONDON

  BITTER LEMON PRESS

  First published in the United Kingdom in 2019 by

  Bitter Lemon Press, 47 Wilmington Square, London WC1X 0ET

  www.bitterlemonpress.com

  First published in Spanish as La cola del serpiente by

  Tusquets Editores, S.A., Barcelona, 2011

  Bitter Lemon Press gratefully acknowledges the financial assistance of the Arts Council of England

  © Leonardo Padura, 2011

  English translation © Peter Bush, 2019

  All rights reserved. No part of this publication may be reproduced in any form or by any means without written permission of the publisher.

  The moral rights of Leonardo Padura and Peter Bush have been asserted in accordance with the Copyright, Designs, and Patents Act 1988.

  A CIP record for this book is available from the British Library

  Paperback ISBN 978–1–912242–17-7

  Ebook: ISBN 978–1–912242–18-4

  Typeset by Tetragon, London

  Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY

  To Lydia Cabrera, for the ngangas.

  To Francisco Cuang, for San Fan Con.

  To Lucía, who understands me even when I speak in chino.

  Contents

  Author’s Note

  Chapter 1

  Chapter 2

  Chapter 3

  Chapter 4

  Chapter 5

  Chapter 6

  Chapter 7

  Chapter 8

  Chapter 9

  Chapter 10

  Chapter 11

  A chino fell down a well,

  his insides turned to water…

  CUBAN NURSERY RHYME

  Author’s Note

  In 1987, when I was working as a journalist on the evening paper Juventud Rebelde [Rebel Youth], I carried out detailed research in order to write an article on the history of Havana’s Barrio Chino. That text, titled ‘Barrio Chino: The Longest Journey’, soon became the subject of a short film documentary (El viaje más largo, directed by Rigoberto López), and the articles I wrote for that newspaper and which I published in book form in 1995 shared their names with the documentary.

  The mysteries of the Barrio Chino and its history of loyalty to and uprooting of specific traditions had intrigued me so much that – after I’d created the character of Mario Conde and published his first two stories, Pasado Perfecto (1991) [Havana Blue, 2007] and Vientos de cuaresma (1993) [Havana Gold, 2008], I wrote a piece of fiction set in that neighbourhood of Havana. The short story also features Conde as its main character, but from a literary point of view it falls outside the four novels that comprise the Havana quartet, which was completed in the following years with Máscaras (1997) [Havana Red, 2005] and Paisaje de otoño (1998) [Havana Black, 2006].

  However, I never felt the story was finished until, after I’d completed and published the last volume of the quartet, I decided to go back and transform it into a novella. As with all of Conde’s adventures, what is narrated is fiction, though there is a strong element of reality. Here, behind the police business that pulls Mario Conde towards the Barrio Chino, is the history of an uprooting I have always felt very moving: that of the Chinese who came to Cuba (originally with labour contracts that almost reduced them to a state of slavery), similar to so many economic migrants in today’s world. Loneliness, contempt and uprooting are then the subject of this story that didn’t really take place, but could quite easily have done.

  The novella, written in 1998, was published in Cuba – where the opportunities to publish must be grasped whenever and however they appear – as a companion to another volume, Adiós, Hemingway.

  Twelve years later, when I finally decided to hand over La cola de la serpiente to my Spanish publishers, the fate of this text underwent another twist: it was clear the plot’s treatment was too restrictive, while several characters and situations needed greater development and the writing loosening up so it would be more in line with other works featuring Mario Conde as hero.

  What you are about to read is the result of this new and, I hope, last rewrite of a story that, over fifteen years, has pursued me until it became this short novel which, I repeat, I hope has finally found its definitive form. In the end, perhaps it couldn’t have happened differently, since, when writing this last version, I realized that possibly none of the Chinese community whose lives and fates inspired this work are left in Havana.

  Mantilla, January 2011

  1

  From the moment he started to reason and learn about life, as far as Mario Conde was concerned, a chino had always been what a chino ought to be: an individual with slanted eyes and skin which, despite its jaundiced yellow colour, was able to withstand adversity. A man transported by life’s challenges from a place as mythical as it was remote, a misty land amid tranquil rivers and impregnable, snow-peaked mountains, lost in the heavens; a country rich in legends about dragons, wise mandarins and subtle sages with good advice on every subject. Only several years later did he learn that a chino, a genuine, real chino, must also be a man capable of conceiving the most extraordinary dishes a civilized palate dare savour. Quails cooked in lemon juice and gratinéed with a ginger, cinnamon, basil and cabbage sauce, say. Or pork loin sautéed with eggs, camomile, orange juice and finally browned slowly in a bottomless wok, over a layer of coconut oil.

  However, according to the limited ideas that derived from Conde’s historical, philosophical and gastronomic prejudices, a chino might also be a lean, affable character ever ready to fall in love with mulatto and black women (provided they were within reach), and puff on a long, bamboo pipe with his eyes shut and, naturally, the laconic kind who utters the minimum words possible in that singsong, palatal language they employed when speaking the languages other people speak.

  “Yes, a chino is all that,” he muttered after a moment’s thought, only to conclude, after longer ruminations, that such a character was simply the standard chino, constructed by stereotypical Western thinking. Even so, Conde found it such an appealing, harmonious synthesis he wasn’t too concerned if that familiar, almost bucolic image would never have meant a thing to a real live chino, let alone to someone who didn’t know and, naturally, had never enjoyed the good fortune to taste the dishes cooked by old Juan Chion, the father of his friend Patricia, who was directly to blame for the fact that Conde had now been forced to reflect on his poor level of knowledge of the cultural and psychological make-up of a chino.

  His need to define the essence of a chino had been prompted that afternoon in 1989
when, after many years without venturing into the rugged terrain of Havana’s Barrio Chino, the lieutenant revisited those slums, following the call of duty: a man had been murdered, though, on this occasion, the deceased was indeed Chinese.

  There were complications, as there almost always are in situations involving a chino (even when the chino in question is dead): for example, the man, who turned out to be one Pedro Cuang, hadn’t been killed in the run-of-the-mill way people were usually killed in the city. He hadn’t been shot, stabbed, or had his head bashed in. He hadn’t even been burned or poisoned. In terms of the deceased’s ethnic origins, it was a strange, far too recherché oriental murder for a country where living was considerably more taxing than dying (and would be so, for some time): one could almost call it an exotic crime, seasoned with ingredients that were hard to digest. Two arrows etched in his chest with the blade of a knife, and a severed finger to add extra flavour.

  Several years later, when Mario Conde was no longer a policeman, let alone a lieutenant, he was forced to revisit Havana’s Chinatown to investigate an obsession he couldn’t get out of his mind, the mysterious disappearance of bolero singer Victoria del Rio in the 1950s. When he returned, he would find a more dilapidated neighbourhood that was almost in ruins, besieged by refuse collectors who couldn’t cope and delinquents of every colour and stripe: the fifteen years between his two incursions into that area had sufficed to obliterate most of the old character of a Barrio Chino that had never been particularly elegant; all that was left to mark it out from the city’s fifty-two official districts was its name and the odd illegible, grimy noticeboard identifying an old company or business set up by those emigrants. And if you really persevered, you might come across four or five cardboard chinos, as dusty as forgotten museum pieces: the last survivors of a long history of coexistence and uprooting who acted as the visible relics of the tens of thousands of Chinese who had come to the island throughout a century of constant migrations and who had once given shape, life and colour to that corner of Havana …

  It was precisely on the day of his return to the area that a now older, more nostalgic Conde began to reminisce, in unlikely detail (given his increasingly poor state of recall), about that morning in 1989 when he had decided to wallow in solitude and the pages of a novel and was disturbed by the sudden appearance of Lieutenant Patricia Chion’s exuberant anatomy, on a friendly rather than professional errand, a request that would make Mario Conde’s existence even more stressed and challenge all the stereotypical notions about los chinos he had happily cherished hitherto without ever bothering to commit them to paper.

  At the end of many a sweaty day in Chinatown, the most painful part for Conde would be his realization that the typical, exemplary chino of his imaginings would become an unfathomable being plagued by open sores, like the deep waters of a sea that vomited up old, still lacerating stories of revenge, ambition and loyalty along with the bubbles from so many frustrated dreams: almost as many as the Chinese who came to Cuba.

  Honestly, it really was worth stopping and taking a long look. And his initial impression was that there was nothing pure about that prime specimen of a woman standing in front of him. His second conclusion was that the result of this obvious impurity surpassed any art created by human hands.

  When he saw her, Conde remembered the conveniently forgotten saga of the failure of the F-1, that socialist Cuban miracle of livestock production (one of so many miracles that evaporated), the perfect animal that would derive from the coupling of choice specimens from the Dutch Holstein breed – a great milk producer but short on meat – and the tropical Zebu, not given to lactation but nevertheless a wonderful supplier of steak. Naturally, the F-1 would take the best from the genes of both its creators and, by dint of a simple, if ingenious, method of addition and subtraction, a single beast would be generated that would provide milk and meat in abundance. As the whole process appeared so easy and natural, there would soon be so many well-endowed cattle in Cuban dairies that the island might be flooded in milk (as Conde remembered perfectly, great leaders had promised in enthusiastic speeches that by 1970 butter and milk would be on sale and there’d be no need to produce ration books), with the danger that Cubans might even choke on their huge steaks or suffer perilous levels of cholesterol, calcium and uric acid … But life had demonstrated that F-1s needed much more than fiery orators and long-gloved inseminators, so there were no F-1s, or milk, butter and beefsteaks … not even mince. There were none in 1970 and they still hadn’t surfaced, and as a result (collateral effect) acceptable levels of cholesterol had been maintained, together with rather low levels of haemoglobin.

  Conversely, Patricia Chion was an F-1 created from the purest chino and the blackest black. That highly satisfactory mix, with equal ratios from both genes, had given the world a Chinese mulatto who was five foot seven with the blackest hair that descended in rebellious but gentle ringlets, the owner of perversely slanted (almost murderous) eyes, a petite mouth with thick lips brimming with succulence, and magnetic, smooth milk-chocolate skin. Those delights were enhanced by other eye-catching features: small, scandalously pert breasts, a narrow waist that flared into immense round hips that flowed into the immeasurable heights of her buttocks, amounting to one of the most exultant asses in the Caribbean that melted into powerful thighs and reached a tranquil haven of vein-free legs flexed by small muscles. The whole ensemble cut breath short, made pulses race and filled heads with evil thoughts and desires (fuck that; they’re not evil, they’re wonderful!).

  But she didn’t merely merit a passing glance, like a painting in a fine museum. That woman attracted you like La Gioconda, or, better still, like the hottest (and best) version of Goya’s Duchess of Alba: a police lieutenant specializing in financial crime, Patricia Chion liked being teased, relished displaying her charms, aided and abetted by a blouse button opened over her cleavage and a skirt always inches shorter than regulations stipulated, ploys that, with her way of walking, pointed to a Caribbean rather than Asian character. Her body and mind transformed an anodyne police uniform into temptation, as some nurses do. Conde had counted on that morning being routine leisure time, but, on his doorstep, he now gaped, as ever, at the sweet sight of F-1 and gave his wicked thoughts free rein.

  “That will do, Mayo,” Patricia said, using her personal nickname for Mario Conde, ending his period of rapt contemplation and rewarding him with a loud kiss on the cheek.

  “So what brings you here?” he asked, once he could breathe, swallow and speak again.

  “You planning to keep me in the doorway?”

  Conde finally acted.

  “I’m sorry, hell, the truth is …” He moved away from the door. “Come in, and please ignore the mess … I was going to give the house a clean today. As I’m on holiday and …” His nerves on edge, Conde continued lying shamelessly.

  When she walked past and kissed his cheek, Patricia’s smell hit Conde: clean skin, a healthy body, and, basically, a woman. And that was why he felt a real desire to cry as she walked across his living room …

  “A man, and a policeman to boot: always bad news for a house … But I’ve seen worse dens,” Patricia admitted, as she stopped in the middle of the room and glanced back at Conde. “You know me, I’ll offer you a deal.”

  Conde smiled. And let himself be tempted. Naturally, he would happily have been dragged into hell provided Patricia was holding his hand.

  “I know you’re going to fuck me up, but … what’s all this about?”

  “If you delay your vacation and take on a case, I’ll help you clean your house.”

  Conde anticipated that the way he answered those words would cost him much more than he could imagine, but he had no choice. Jettisoning all his steely resolutions about not doing anything on his free days, he said: “All right … what’s this case about?”

  Patricia smiled, put her briefcase on a pile of magazines gathering dust on an armchair, rummaged in her bag and extracted a hairband. She deftly gat
hered her black ringlets and bunched them at the back of her neck.

  “Lend me some shorts and an old jersey and I’ll tell you while we’re cleaning …”

  Patricia took off her shoes, levering one with the heel of the other and, now barefoot, opened the third button of her blouse. Meanwhile, Conde’s legs began to tremble and he felt a drop of lubricant slip down his urethra.

  “Hey, Mayo, I’m not doing a striptease, give me some clothes … and make sure they’re clean,” demanded Patricia, and in the end the cop reacted.

  Two hours later the house was as clean and tidy as they could have hoped for in the time they’d had. Mario Conde was simultaneously brought up to date on the scant information that existed about the murder of one Pedro Cuang. Above all, he discovered why Patricia wanted him: according to her, it would be impossible to solve that case without a trustworthy guide in Chinatown. And Patricia knew that out of all the detectives at Headquarters Conde would have some chance of getting to the truth because of his friendship with her own father, Juan Chion.

  “Besides, the victim was a friend of my godfather, Francisco … and I’m sure my dad knew him, even if he told me otherwise.”

  “And before you talked to me, did you ask your father to help me?”

  “Come on, Mayo, the moment I decided to come and see you, I knew you were never going to say no … Otherwise, why are we friends?”

  And even if she didn’t have enough strength to disarm him, Patricia’s voice, when she adopted that half-imploring, half-vampy tone, was capable of stripping Conde of everything. Down to his underpants.

  While he drank his second cup of coffee in the kitchen, Mario Conde listened to the shower water splashing off Patricia Chion’s naked body. Luckily, two days earlier he’d been round at Skinny Carlos’s place and had put several towels and sheets in Josefina’s – his friend’s mother’s – washing machine, and was able to offer Patricia reasonably clean towels when she said she couldn’t go back to work in the state she was in after they’d finished their cleaning blitz. Although Conde could have gobbled her up with any number of layers of grime, he made a final effort, the supreme one of that morning, and said goodbye to Patricia from the kitchen once she was in the bathroom, behind a closed door and, ever a cautious china, with the bolt on. His mind racing, Conde smoked in the kitchen, ears attuned to the sound of water streaming down her body and imagining the rivulets that lucky water was creating on her cinnamon skin.