Down but Not Out.(Review)

Dirty Havana Trilogy, by Pedro Juan Gutierrez, translated by Natasha Wimmer (Farrar, Straus, 392 pp., $25)

Though it makes no reference to politics, Dirty Havana Trilogy is invaluable for an understanding of Cuba's predicament. In Pedro Juan Gutierrez's novel, the consequences of the Castroist "revolutionary will" are laid out with a rough-edged honesty that would be remarkable even for a writer in a free country. Writing in the certain knowledge his work could never be published at home, Gutierrez offers powerful proof that a free man's imagination will not be regimented in the service of a political utopia.

The novel is set in the worst part of the so-called "special period" that followed the collapse of the Soviet Union and the end of its massive subsidies to Castro's regime. The misery of those years was quite dramatic. Cubans could not get basic necessities; medicine, food, water, clothes, and adequate housing were scarce. For the most part, then, Dirty Havana Trilogy shows its characters simply grubbing about for enough food to keep starvation at bay, and for enough sex to forget the despair of a meaningless life in a hopeless place. The theme of the book is survival in the sense at once animal and moral in which Solzhenitsyn understood it in One Day in the Life of Ivan Denisovich. Gutierrez does not directly pit an individual against a totalitarian state, but rather throws his hero against a system that challenges him to continue believing in his own humanity.

The narrator and hero of the loosely connected stories that make up the novel is a man named Pedro Juan (the author's name as well, underscoring the autobiographical nature of the work), a down-and-out resident of central Havana. Pedro Juan was once a radio journalist, but he got sick of having to write PR for the regime. Now he lives in a colony of makeshift studios on the roof of a dilapidated building, not far from the Malecon, a boardwalk that has become a cruising ground for every kind of sex. His friends and girlfriends share cigarettes and rum, and ply various small-time rackets to pick up the few pesos they need to survive. When Pedro Juan's regular girl picks up a foreign sex tourist, they are flush for a few days, until the money runs out and the scrounging begins anew. Pedro Juan expects nothing from anyone, and his aim in life is simply to enjoy the small pleasures still within his reach, which are simple and animal. Half a century after the triumph of a revolution that was supposed to inaugurate an era of solidarity and social justice, the only ethic anyone can live by is the one with which this chronicler of Cuban misery concludes: "You can't let your guard down."

In effect, Pedro Juan and his friends are dropouts. The regime can tolerate no intellectual or political dissent, but it puts up with a certain degree of bohemianism. Pedro Juan's behavior-sexual and otherwise-would be shocking in the U.S. (to the extent we still have a capacity to be shocked by squalid excess), but in special-period Cuba, Pedro Juan, rebelling against the spiritual atrophy that the regime demands, is normal: "I don't have a bad reputation in the neighborhood: I'm not a druggie, or a flasher, or a troublemaker, or someone who's always mixed up with the police. It doesn't matter if every once in a while you smoke a joint or [masturbate] or get plastered, that doesn't give you a bad reputation. ...