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85 pages 2 hours read

Enrique Flores-Galbis

90 Miles to Havana

Fiction | Novel | Middle Grade | Published in 2010

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Themes

Coming-of-age Amid Political Strife

Growing up is hard as it is, but Julian does so in a tumultuous environment racked with political strife, loss of family, and being far from home. The novel takes the typical coming-of-age themes and places them in a Cuban, Cold War historical context. During a Cuban revolution as Fulgencio Batista leaves and Fidel Castro comes to power in 1959, the country is in turmoil, and many families have to leave their homes or send their children away via Operation Pedro Pan. This sacrifice is confusing to young Julian, who cannot understand why his family cannot be together, or why he must leave alone and in secret. Circumstances force him to grow up quickly and become independent in America. He learns not only how to survive without his brothers or parents, but he comes to see life without them as more fulfilling at times.

He leaves Cuba as a young boy who is teased and babied by his brothers and wishes to be treated like an adult. He wants to be the hero for the sake of praise. Later, in America, he finds that being treated like an adult is dangerous. It requires making difficult decisions, making sacrifices, and learning to do the right thing. At the end of the novel, when Julian leaves with Tomas to rescue people in Havana, he makes an adult decision to delay the reunion with his own family and do the right thing for other families. He sacrifices his mom’s valuable pin for the good of 14 others, knowing that it will upset her. By the end of the novel, he has given up his childish notions of being the hero and instead is a hero because he has done the honorable thing. He can more easily understand the sacrifice his parents made.

Displacement, Democracies, and Dictatorships

Because Julian and his brothers are refugees, they become displaced from their home and must learn to live in a new, foreign land where everything seems similar but is very different. Julian identifies overlapping struggles that exist in both places: bullies, fear, revolution, and survival. However, he quickly sees that each place calls for a new way to deal with each. In Cuba, his brothers bully him benignly, and the little woman bullies their family so harshly that they are forced to flee. In America, Caballo bullies the boys, but he is backed by the director, who grants Caballo the power to do so. Instead of running at first, Julian fights back against his evolving fear and starts a revolution in the camp similar to the one happening in Cuba. Although he is displaced from home, he adapts to familiar obstacles in new ways.

As a displaced refugee, Julian also experiences prejudice and discrimination from the people in Miami. Many beachgoers, hotel guests, tourists, and classmates look down on him because of where is from or what he is wearing. They have trouble pronouncing his name until he angrily corrects them: “’My name is Who-li-an!’” (85) He studies maps and memorizes the outline of home because he is as displaced mentally as he is physically. Therefore, his identity becomes defined as much by where he is as by where he is not and by how he grapples with this juxtaposition.

Imagination Versus Reality

Several moments in the novel highlight the juxtaposition of imagination and reality. Julian has a vivid imagination that he nurtures with drawings and reflection. When he feels like a coward, he draws himself as such on one side of a page but makes sure to also draw himself as a giant: “On this side of the page I draw myself bigger than the ghost of scared me from the other side. Using firm clear lines I make rays shooting out of my eyes and Caballo’s back as he runs away” (131). Both images of himself are fictional, but to him, the scared version is the reality, while the giant is imaginary. Even though he knows so, he still finds comfort in his imaginary version.

The clash of reality and fiction is also apparent when his mother, perhaps unknowingly, tells him about how fun and beautiful the camps will be. When he arrives at Camp Kendal, it is far from that picture that she has painted. He has to omit unpleasant details in his letters home, creating a fictional reality of his life in America for his parents.

Later, he also creates a fictional reality for himself when he starts school in Connecticut: “It’s easy to turn the red leaves into a blue sea and then to imagine a fishing boat bobbing on the waves. My father, Bebo, and my brothers are all standing around the fighting chair as I work the rod” (287). Feeling overwhelmed by a new school filled with more bullies, he imagines something familiar: his father, his home, and sailing. Thus, imagination becomes a coping mechanism for dealing with reality.

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By Enrique Flores-Galbis