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In October 1962, the fate of the world hung on the American response to the discovery of Soviet nuclear missile sites in Cuba. That response was informed by hours of discussions between John F. Kennedy and his top advisers. What those advisers did not know was that President Kennedy was secretly taping their talks, providing future scholars with a rare inside look at high-level political deliberation in a moment of crisis. This is the first book to examine these historic audio recordings from a sociological perspective. It reveals how conversational practices and dynamics shaped Kennedy's perception of the options available to him, thereby influencing his decisions and ultimately the outcome of the crisis. It looks not just at the positions taken by Kennedy and his advisers but how those positions were articulated, challenged, revised, and sometimes ignored. The book argues that Kennedy's decisions arose from the intersection of distant events unfolding in Cuba, Moscow, and the high seas with the immediate conversational minutia of turn-taking, storytelling, argument, and justification. In particular, the book shows how Kennedy's group told and retold particular stories again and again, sometimes settling upon a course of action only after the most frightening consequences were omitted or actively suppressed. This book presents an image of Kennedy's response to the Cuban missile crisis that is sharply at odds with previous scholarship, and has important implications for our understanding of decision making, deliberation, social interaction, and historical contingency.

Analyzing the ideology and rhetoric around race on the island and in south Florida during the early years of the Cuban revolution, Devyn Spence Benson argues that ideas, stereotypes, and discriminatory practices relating to racial difference persisted despite major state efforts to generate social equality. Drawing on Cuban and U.S. archival materials and face-to-face interviews, Benson examines 1960s government programs and campaigns against discrimination, showing how such programs frequently negated their efforts by reproducing racist images and idioms in revolutionary propaganda, cartoons, and school materials. Building on nineteenth-century discourses that imagined Cuba as a raceless space--“not blacks, not whites, only Cubans”--revolutionary leaders embraced a narrow definition of blackness, often seeming to suggest that Afro-Cubans had to discard their blackness to join the revolution. This was and remains a false dichotomy for many Cubans of color, Benson demonstrates. While some Afro-Cubans agreed with the revolution’s raceless sentiments, others found ways to use state rhetoric to demand additional reforms. Still others, finding a revolution that disavowed blackness unsettling and paternalistic, fought to insert black history and African culture into revolutionary nationalisms. Despite such efforts by Afro-Cubans and radical government-sponsored integration programs, racism has persisted throughout the revolution in subtle but lasting ways.

Juan Francisco Manzano and Gabriel de la Concepción Valdés (also known as Plácido) were perhaps the most important and innovative Cuban writers of African descent during the Spanish colonial era.Both nineteenth-century authors used Catholicism as a symbolic language for African-inspired spirituality.Likewise, Plácido and Manzano subverted the popular imagery of Neoclassicism and Romanticism in order to envision black freedom in the tradition of the Haitian Revolution.African religious knowledge subverted official Catholic dogma about redemptive suffering that might free the soul but leave the body enchained.Rather, Plácido and Manzano envisioned emancipation through the lens of African spirituality, which constituted a transformative moment in the history of Cuban letters. Matthew Pettway examines how the portrayal of African ideas of spirit and cosmos in otherwise conventional texts recur throughout early Cuban literature and became the basis for Manzano and Plácido’s antislavery philosophy.Cuban debates about freedom and selfhood were never the exclusive domain of the white Creole elite.Pettway’s emphasis on African-inspired spirituality as a source of knowledge and a means to sacred authority for black Cuban writers deepens our understanding of Manzano and Plácido not as mere imitators but as aesthetic and political pioneers.

Despite its hard-nosed emphasis on the demystifying realism of Marxist–Leninist ideology, the political imagery of the Cuban revolution—and the state that followed—conjures up its own magical seductions and fantasies of power. This book shows how magic practices and political culture are entangled in Cuba in unusual and intimate ways. He describes not only how the monumentality of the state arouses magical sensibilities and popular images of its hidden powers, but also the ways in which revolutionary officialdom has, in recent years, tacitly embraced and harnessed vernacular fantasies of power to the national agenda. In this analysis, popular culture and the state are deeply entangled within a promiscuous field of power, taking turns siphoning the magic of the other in order to embellish their own fantasies of authority, control, and transformation. This study brings anthropology and history together by examining the relationship between ritual and state power in revolutionary Cuba, paying particular attention to the roles of memory and history in the construction and contestation of shared political imaginaries.

This book delves into several defining moments of Cuba’s artistic evolution from a multidisciplinary perspective, including art history, architecture, photography, history, literary criticism, and cultural studies. Situating Cuban art within a wider social and historical context, fifteen prominent scholars and collectors scrutinize the enduring links between Cuban art and cultural identity. Covering the main periods in Cuban art (the colonial, republican, and postrevolutionary phases, as well as the contemporary diaspora), the contributors identify both the constant and changing elements and symbols in the visual representation of Cuba’s national identity. The essays collected in this volume provide insightful information and interpretation on the historical trajectory of Cuban and Cuban-American art. From colonial engravers to contemporary photographers, several generations of Cuban artists have been fascinated—perhaps even obsessed—with picturing Cuba’s landscapes, architecture, people, and customs. Each generation of artists focused on various tropes of Cuban identity, whether it was the tropical environment, the lights and colors of the island, certain human types, the fusion of European and African traditions, or the uprootedness produced by exile and resettlement in another country. Even when artists shed the attempt to represent their subject matter realistically, they sought to contribute to a longstanding national tradition in dialogue with a broader international scenario. The cumulative result of more than three centuries of Cuban art is a kaleidoscopic view of the island’s nature, population, culture, and history.

This book uncovers an important, otherwise unrecognized century-long archive of literature and performance that reveals Cuban America as a space of overlapping Cuban and African diasporic experiences. It shows how Afro-Cuban writers and performers in the U.S. align Cuban black and mulatto identities, often subsumed in the mixed-race and postracial Cuban national imaginaries, with the material and symbolic blackness of African Americans and other Afro-Latinas/os. In the works of Alberto O'Farrill, Eusebia Cosme, Rómulo Lachatañeré, and others, Afro-Cubanness articulates the African diasporic experience in ways that deprive negro and mulato configurations of an exclusive link with Cuban nationalism. Instead, what is invoked is an “unbecoming” relationship between Afro-Cubans in the United States and their domestic black counterparts. The transformations in Cuban racial identity across the hemisphere, represented powerfully in the literary and performance cultures of Afro-Cubans in the Unuted States, provide the fullest account of a transnational Cuba, one in which the Cuban American emerges as Afro-Cuban-American, and the Latino as Afro-Latino.

John Lowe explodes old notions of region by exploring the effect of the Caribbean on Southern literature, and conversely, how the writers of the coastal U.S. have influenced artists “South of the South.” Two chapters consider how armed conflict - the Haitian Revolution and the U.S. Mexican War - created a new awareness of the South as the northern rim of the Caribbean. Other chapters pair writers whose works map out the “Caribbean Imaginary” (Martin Delany and Lucy Holcombe Pickens); the idea of the “transnational South (Constance Fenimore Woolson and Lafcadio Hearn); common folk cultures (Claude McKay and Zora Neale Hurston); and overlapping narratives of resistance (Richard Wright and George Lamming). The final chapter insists on the inclusion of Cuban American writers in the canon of Southern literature, while demonstrating their importance to the emerging concept of the circumCaribbean. Employing key critics of Caribbean and post-colonial literature, such as Édouard Glissant, Antonio Benitez-Rojo, Edward Kamau Brathwaite, Franz Fanon, Wilson Harris, Valerie Loichot, J. Michael Dash, Aimé Césaire, and Edward Said, Lowe’s reading are contextualized with hemispheric history, especially that of Cuba, Haiti, Barbados, Jamaica, Mexico, Louisiana, and Florida. His readings revolve around innovative concepts of the Caribbean imaginary and the tropical sublime, and interrogate recent critical categories, such as diaspora, the Black Atlantic, and new approaches to colonialism and post-colonialism. Calypso Magnolia contributes a striking reconfiguration of the “New Southern Studies,” the global South, and hemispheric and Atlantic Studies.

During the violent years of war marking Cuba’s final push for independence from Spain, over 3,000 Cuban émigrés, men and women, rich and poor, fled to Mexico. But more than a safe haven, Mexico was a key site from which the expatriates helped launch a mobile and politically active Cuban diaspora around the Gulf of Mexico. Offering a new transnational vantage on Cuba’s struggle for nationhood, this book traces the stories of three hundred of these Cuban émigrés and explores the impact of their lives of exile, service to the revolution and independence, and circum-Caribbean solidarities. While not large in number, the émigrés excelled at community building, and their effectiveness in disseminating their political views across borders intensified their influence and inspired strong nationalistic sentiments across Latin America. Revealing that émigrés’ efforts were key to a Cuban Revolutionary Party program for courting Mexican popular and diplomatic support, the book shows how the relationship also benefited Mexican causes. Cuban revolutionary aspirations resonated with Mexican students, journalists, and others alarmed by the violation of constitutional rights and the increasing conservatism of the Porfirio Díaz regime. Finally, this book follows the émigrés’ return to Cuba after the Spanish-American War, and shows how their lives in the new republic were ineluctably shaped by their sojourn in Mexico.

In the wake of independence from Spain in 1898, Cuba's intellectual avant-garde struggled to cast their country as a modern nation. They grappled with the challenges presented by the postcolonial situation in general and with the location of blackness within a narrative of Cuban-ness in particular. This study examines how a cadre of writers reimagined the nation and re-valorized Afro-Cuban culture through a textual production that incorporated elements of the ethnographic with the literary. To explore the potential of this encounter between established literary forms, developing ethnographic methodologies, and popular culture, the book analyzes the work of four Cuban writers: Fernando Ortiz, Alejo Carpentier, Nicolás Guillén, and Lydia Cabrera. Singling out the work of Lydia Cabrera as emblematic of the experimentation with genre that characterized the age, the text constructs a series of counterpoints which place Cabrera's work in dialogue with that of her Cuban contemporaries. As it diagnoses an “ethnographic spirit” in the work of these writers, the study explores the experimental sensibility of the moment through a comparative analysis of the structural mechanics of their texts, the constructions of blackness in which illuminate the dynamic, sometimes contradictory dialogue around race in republican Cuba. A final chapter on Cabrera and African American writer Zora Neale Hurston widens the scope to locate Cuban texts within a hemispheric movement to represent black culture.

The Politics of Division deconstructs antagonistic discourses that circulated in local Miami press between African-Americans, “white” Cubans, and “black” Cubans during the 1980 Mariel Boatlift and the 1994 Balsero Crisis. In its challenge to discourses which pit these groups against one another, the book examines the nuanced ways that identities such as “black,” “white,” and “Cuban” have been constructed and negotiated in the context of Miami’s historical multi-ethnic tensions. The book argues that dominant race-making ideologies of the white establishment regarding “worthy citizenship” shape inter-minority conflict as groups negotiate their precarious positioning within the nation. The book contends that the lived experiences of the African-Americans, white Cubans, and Afro-Cubans involved disrupt binary frames of worthy citizenship narratives, illuminating the greater complexity of racialized identities. Foregrounding the oft-neglected voices of Afro-Cubans, the book highlights how their specific racial positioning offers a challenge to white Cuban-American anti-blackness and complicates narratives that placed African-American “natives” in opposition to (white) Cuban “foreigners,” while revealing also how Afro-Cubans and other Afro-Latinos negotiate racial meanings in the United States. Focusing on the intricacy of interminority tensions in Miami, the book adds dimension to modern debates about race, blackness, immigration, interethnic relations, and national belonging.