Caviar with Rum

JACQUELINE LOSS is an Associate Professor of Latin American Literary and Cultural Studies at the University of Connecticut, USA. Her publications include Cosmopolitanisms and Latin America: Against the Destiny of Place (2005, Palgrave) and the co-edited collection, New Short Fiction from Cuba (2007, Northwestern University Press). Her book Dreaming in Russian that treats Cubans' memory of the Soviets in the arts is forthcoming from the University of Texas Press.JOSÉ MANUEL PRIETO was born in Havana, Cuba, in 1962. He is the author of several works of fiction and nonfiction including the internationally acclaimed Enciclopedia de una vida en Rusia (Encyclopedia of a life in Russia), Livadia (published in English as Nocturnal Butterflies of the Russian Empire), Rex, and El Tartamudo y la rusa (short stories). His Voz humana (Human Voice) is forthcoming. He has been a fellow at The New York Public Library's Center for Scholars and Writers and has been the recipient of a Guggenheim Fellowship. José Manuel Prieto taught at the Centro de Investigación y Docencia Económica (CIDE) in Mexico City, Cornell University as a Visiting Professor, and at Princeton University as a Distinguished Lecturer. He currently teaches at Seton Hall University.

• PART I: OSTALGIE: CUBAN STYLE The Muñequitos Rusos Generation—Aurora Jácome, Translated by Katherine M. Hedeen Nostalgia—Reina María Rodríguez, Translated by Kristin Dykstra Roxy the Red—Pedro González Reinoso, Translated by Dick Cluster PART II: COMMUNICATING VESSELS The Rebellious Children of the Cuban Revolution: Notes on the History of Cuban Sots Art —Juan Carlos Betancourt, Translated by Antonio Garza Toward a Cuban October—Ernesto Menéndez, Translated by Elizabeth Bell Around the Sun: The Adventures of a Wayward Satellite—Jorge Ferrer, Translated by Anna Kushner The Mammoth That Wouldn't Die—Carlos Espinosa Domínguez, Translated by Elizabeth Bell Heberto Padilla, the First Dissident (of the Cuban Revolution)—José Manuel Prieto, Translated by Jorge Castillo PART III: RECALCITRANT AJIACO …So, Borscht and the Ajiaco Don't Mix?: An Essay of Self-ethnography on the Young Post-Soviet Diaspora in Cuba—Dmitri Prieto Samsonov and Polina Martínez Shvietsova, Translated by Kristina Cordero Dispatches from the War Zone—Tonel Fnimaniev! Fnimaniev! The Hare and the Turtle: The Black 'Mona'—Gertrudis Rivalta Oliva, Translated by Jacqueline Loss Persistent Matriushkas—Jacqueline Loss PART IV: THE IMAGINARY TRACTOR The Inventor, the Machine, and the New Man—Ariana Hernández-Reguant What the Russians Left Behind—Yoss, Translated by Daniel W. Koon PART V: DIPLOMATIC AND ECONOMIC COQUETTERIE Socialism as the Main Soviet Legacy in Cuba—Yuri Pavlov Havana and Moscow in the Post-Soviet World—Mervyn J. Bain

"A provocative, landmark collection, Caviar with Rum initiates a necessary and timely reckoning with the cultural, ideological, pedagogical, and political reverberations of the three-decade Soviet presence in Cuba. The volume's standout features include the remarkable range of its contributors' geo-cultural standpoints; the wealth of critical, visual, performative, lyrical, narrative, and testimonial materials on which these authors draw; and the implicit critical sensitivity and depth of insight revealed by editors Jacqueline Loss and Jose Manuel Prieto into the international and local intricacies shaping post-Soviet portrayals of the Cuba-USSR connection." Vicky Unruh, University of Kansas "No island is an island, as the case of Cuba and the Russians compellingly demonstrates. Caviar with Rum's trenchant examinations illuminate some of the most significant transnational skeins that messily cross and create revolutionary Cuba. The anthology draws innovatively from many positionings in space/time to express in cultural, political, analytic, and emotive registers a vital range of theoretical concerns, such as nostalgia and power and memory and representation. Offering timely and unique contributions to fields including visual culture and (post-) Soviet studies, Caviar with Rum is a must-read for Soviet and Cuban scholars and non-specialists alike." Jennifer Hosek, Queen's University "In Caviar with Rum Jacqueline Loss and Cuban writer Jose Manuel Prieto have compiled a host of essays from scholars and artists who render vivid for us the lasting effects on Cuban culture of the alliance between Fidel Castro and the Soviet Union. This book will be an important contribution to Cold War and post Cold War studies and a page-turner for anyone interested in revolutionary Cuba." Anke Birkenmaier, Indiana University, co-editor of Havana beyond the Ruins. Cultural Mappings after 1989 '[This book] is, in the main, an anthology of reflections by Cubans both on and off the island on the degree to which the 30-year alliance between Cuba and the Soviet Union transformed Cuban society and left a legacy that is still very much in evidence two decades after the USSR's demise. The book is an eclectic mix of intensely personal accounts rendered in highly literary fashion and more academic approaches . In recognition of the rather diffuse nature of the contributions, the editors have helpfully allowed for the inclusion of a useful up-to-date chronology of highpoints in the relationship between Cuba and the USSR/Russia . The more formally structured essays I found to be the most revealing about the degree to which the island became 'Sovietized', even in its modes of thinking, as Ariana Hernandez Reguant makes clear in her fascinating study of how the Soviet discourse on incentives established an enduring hold. Of all the essays on personal reflections, the one by 'Yoss' most fully succeeds in (rather wittily) relating just how pervasive was the Soviet imprint on a quotidian level .' - Philip Chrimes, International Affairs 'Caviar with Rum embodies [the Soviet] period with an array of engaging essays and short stories, often conjuring complex memories through art, poetry, film, and even cartoons. In many ways the volume also deals with the aftermath, the post-socialist period in which Cuban-Russian cultural memories continue to beckon history. [T]he group of authors anthologized comprise heterogeneity in the widest sense, an array of artists, writers, and scholars that includes Cubans who lived in the USSR, Soviets who lived in Cuba, and others in between whose experience and memories of the period deeply challenge the boundaries of nationality, class, race, and in some cases, gender. They all perform acts of memory with an acute sense of risk, often marked by the fear of falling by the wayside.' - Roman de la Campa, Edwin and Lenore Williams Professor of Romance Languages, University of Pennsylvania, USA, Literature and Arts of the Americas