Fidel Between The Lines

In Fidel between the Lines Laura-Zoë Humphreys traces the changing dynamics of criticism and censorship in late socialist Cuba through a focus on cinema. Following the collapse of the Soviet Union, the Cuban state strategically relaxed censorship, attempting to contain dissent by giving it an outlet in the arts. Along with this shift, foreign funding and digital technologies gave filmmakers more freedom to criticize the state than ever before, yet these openings also exacerbated the political paranoia that has long shaped the Cuban public sphere. Drawing on ethnographic fieldwork, textual analysis, and archival research, Humphreys shows how Cuban filmmakers have historically turned to allegory to communicate an ambivalent relationship to the Revolution, and how such efforts came up against new forms of suspicion in the 1990s and the twenty-first century. Offering insights that extend beyond Cuba, Humphreys reveals what happens to public debate when freedom of expression can no longer be distinguished from complicity while demonstrating the ways in which combining anthropology with film studies can shed light on cinema's broader social and political import.

Che Guevara has been dead for more than forty years, and long ago renounced by Fidel Castro-and yet they are forever linked: their coming to prominence together captivated a generation. For many, their romantic struggle for freedom still resonates; for others, they simply represent the last of a dying breed of rebel warriors. Yet, while much has been written about them both, surprisingly little is known about their personalities, and even less about the 12 years of their unique and highly consequential relationship, during which they linked arms in one of the world's greatest revolutionary movements. Fidel and Che follows them on their dramatic journey from the safe houses of Mexico's political underground in the 1950s, where they began hatching their plan for revolution, to the theatre of war in the Cuban mountains, to the paneled offices of a new government (the Bay of Pigs and Cuban Missile crises happened on their watch), and to the eventual rupture of their friendship, as Che left Cuba to pursue his revolutionary dreams, only to be assassinated by the CIA in 1966. Reid-Henry also reveals the more personal world of their inner lives as friends, husbands, lovers, fathers. What began as an association of convenience became the most profound relationship of their lives. It shaped their political ambitions and their personal attitudes, compelling them further than either had previously dared imagine. But if their times inspired a revolutionary friendship, they also destroyed it, for the tragic irony was that the more historical circumstance bound them together, the more personal ambitions pulled them apart. At a momentous turning point in Cuban history, Simon Reid-Henry has crafted a fascinating and original chronicle of two of the most powerful personalities in recent memory.

The Secret Fidel Castro is neither a history of the Cuban revolution nor a biography of Fidel Castro. The book was written following what intelligence services call a CPP (short for Comprehensive Personality Profile), similar to the ones intelligence services keep on foreign leaders. It focuses on different aspects of Castro's actions and personality which, for some reasons, have been either ignored, misunderstood, or misrepresented. The main thesis of this book is that there are many different Castros. The most widely known is the symbolic, public one, as it has been portrayed in official Cuban propaganda, Castro-friendly biographies, and mainstream American media. But there are also many secret Castros, highly different from the public one. The Secret Fidel Castro focuses on little known aspects of Castro's personality, important in the better understanding of the man and his actions?what really makes him tick.

Few political figures of the modern age have been so vilified as Fidel Castro, and both the vilification and worship generated by the Cuban leader have combined to distort the true image of Castro. The baseball myths attached to Fidel have loomed every bit as large as the skewed political notions that surround him. Castro was never a major league pitching prospect, nor did he destroy the Cuban national pastime in 1962. In Fidel Castro and Baseball: The Untold Story, Peter C. Bjarkman dispels numerous myths about the Cuban leader and his association with baseball. In this groundbreaking study, Bjarkman establishes how Fidel constructed, rather than dismantled, Cuba’s true baseball Golden Age—one that followed rather than preceded the 1959 revolution. Bjarkman also demonstrates that Fidel was not at all unique in “politicizing” baseball as often maintained, since the island sport traces its roots to the 19th-century revolution. Fidel’s avowed devotion to a non-materialist society would ultimately sow the seeds of collapse for the baseball empire he built over more than a half-century, just as the same obsession would finally dismantle the larger social revolution he had painstakingly authored. A fascinating look at a controversial figure and his impact on a major sport, this volume reveals many intriguing insights about Castro and how his love of the game was tied to Cuba’s identity. Fidel Castro and Baseball will appeal to fans of the sport as well as to those interested in Cuba’s enduring association with baseball.

Based on hundreds of interviews conducted over many years in 28 countries, including extensive personal interviews with Castro himself, Georgie Anne Geyer reveals the untold story of Fidel Castro in this definitive biography.

From the turn of the twentieth century through the late 1950s, Havana was a locus for American movie stars, with glamorous visitors including Errol Flynn, John Wayne, and Marlon Brando. In fact, Hollywood was seemingly everywhere in pre-Castro Havana, with movie theaters three to a block in places, widely circulated silver screen fanzines, and terms like “cowboy” and “gangster” entering Cuban vernacular speech. Hollywood in Havana uses this historical backdrop as the catalyst for a startling question: Did exposure to half a century of Hollywood pave the way for the Cuban Revolution of 1959? Megan Feeney argues that the freedom fighting extolled in American World War II dramas and the rebellious values and behaviors seen in postwar film noir helped condition Cuban audiences to expect and even demand purer forms of Cuban democracy and national sovereignty. At the same time, influential Cuban intellectuals worked to translate Hollywood ethics into revolutionary rhetoric—which, ironically, led to pointed critiques and subversions of the US presence in Cuba. Hollywood in Havana not only expands our notions of how American cinema was internalized around the world—it also broadens our view of the ongoing history of US-Cuban interactions, both cultural and political.

Latin American women were among those who led the suffrage movements of the nineteenth and early twentieth centuries, and their opposition to military dictatorships has galvanized more recent political movements throughout the region. But because of the continuous attempts to silence them, activists have struggled to make their voices heard. At the heart of Voices of Resistance are the testimonies of thirteen women who fought for human rights and social justice in their communities. Some played significant roles in the Cuban Revolution of 1959, while others organized grassroots resistance to the seventeen-year Pinochet dictatorship in Chile. Though the women share many objectives, they are a diverse group, ranging in age from thirty to eighty and coming from varied ethnic and socioeconomic backgrounds. The Cuban and Chilean women Judy Maloof interviewed use the narrative form to reinvent themselves. Maloof includes narratives from a poet, a tobacco worker, a political prisoner, an artist, and a social worker to demonstrate the different faces of their struggle. In the process, these women were able to begin to put together their fragmented lives. Speaking out is both a means for personal liberation and a political act of protest against authoritarian regimes. The bond that these women have is not simply that they have suffered; they share a commitment to resisting violence and confronting inequities at great personal risk.

AN ACCOUNT OF THE LIFE, CAREER, PERSONAL AND PUBLIC CHARACTER, TALENTS, AND SHORTCOMINGS OF THE CUBAN LEADER, WRITTEN BY A PSYCHIATRIST AND FORMER U.S. GOVERNMENT OFFICIAL BIBLIOG.