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Reinaldo ArenasA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The source text contains descriptions of anti-gay bigotry, sex with minors, and political violence.
Following Arenas’s release from El Morro in 1976, Fuentes continues testing the sincerity of his conversion, monitoring his every move in Havana. After stringing together accommodations, Arenas finds a woman named Elia del Calvo willing to rent him a room in her house in exchange for writing her memoirs and buying fish for her many cats. After learning that State Security found the manuscript of Farewell to the Sea on his aunt’s roof, Arenas uses del Calvo’s typewriter to rewrite the novel for the third time. He has to hide this work from del Calvo because she strongly supports Castro. At del Calvo’s suggestion, Arenas sues Agata for the right to live in her house, claiming that having lived there for 15 years grants him the right to tenancy. Agata and her husband have fallen out of favor with the regime and her personal enemy supports Arenas’s suit; it seems likely that Arenas will win.
In the summer of 1976, both Arenas’s grandmother and Lima die, devastating him. With Arenas’s grandmother dies the rich, magical world of his childhood; with Lima dies a close friend and fellow lover of literature.
Arenas encounters Prado on the street. When Arenas opens his mouth to insult him, his false front teeth fall out, leading them both to laugh and reconcile. They walk in Lenin Park, where Arenas begins shouting that he cannot accept Lima’s death. Arenas strips naked and Prado flogs him with a bunch of mariposas. Finally, Arenas dives to the bottom of the lake. This “exorcism” allows Arenas to accept his friend’s death (451). After Arenas dresses, he and Prado find a group of adolescents in the park to have sex with. Afterward, the boys chase Prado and Arenas with stones.
Arenas evades Víctor’s requests to write in praise of Castro and instead tries to reclaim his job at UNEAC. All of Arenas’s former friends there have turned on him and refuse to give him a job. In response, Arenas drafts a mocking “Termination of Friendship Notice” that he sends to everyone who has betrayed him (458). Prado forges this notice and sends it to Arenas’s true friends, causing confusion and igniting another rift between the two. Arenas writes a number of tongue twisters mocking Prado and other people in Havana’s art world that circulate widely through the city. Arenas believes this mocking sense of humor is something quintessentially Cuban that disappeared under Castro: “by taking away their laughter, the Revolution took away from [Cubans] their deepest sense of the nature of things. Yes, dictatorships are prudish, pompous, and utterly dreary” (462).
Living with del Calvo and her dozens of cats becomes unbearable. In 1977, Arenas finds a man named Rubén Díaz willing to rent him a room he owns in the dilapidated Monserrate Hotel, formerly a hotel for prostitutes. For rent, Arenas gets 1000 pesos from Agata in exchange for not returning to her house.
Arenas improves his new room, constructing a loft for more space and bricking off the door to Díaz’s room to prevent Díaz from continuing to try to sleep with him. Arenas feuds with Malas, who lives in another room in the hotel, and continues evading Víctor’s requests to write propaganda. One day, a French couple sent by Jorge and Margarita call on Arenas at the hotel. They are shocked by the squalid living conditions. They smuggle his newly-completed manuscript of Farewell to the Sea back to Paris.
Arenas finally finds a dentist to re-cement his false front teeth, restoring some of his confidence. He becomes lovers with Lázaro, a young man who lives in the building with his abusive parents. Lázaro has mental health conditions, loves literature, and wants to be free of the chaos of his home life. Arenas and Lázaro walk the city together and covertly swim at the beaches, which Castro has closed to the public.
Arenas has a strained relationship with Díaz, who he suspects is an informant for State Security. Nevertheless, Arenas befriends a painter Díaz introduces him to named Blanca Romero. After falling out of favor with the regime, Romero turned to prostitution to survive. One day, Romero asks Arenas and Lázaro to make a window in her windowless room. Behind the wall they discover a huge convent that was abandoned and sealed after Castro came to power. Over the following months, the three smuggle the valuables out of the convent to sell on the black market. Eventually, they sell even the bricks from the convent walls.
After Díaz discovers that Arenas has renovated his room with marble countertops and 18th century furniture from the convent, he threatens to reclaim the room. Arenas is vulnerable to eviction because his living arrangement is illegal: Only the government can legally lease housing. After Arenas threatens Díaz with a kitchen knife, he drops his plan to evict Arenas.
Arenas and Lázaro fall in love while maintaining an open relationship. Lázaro marries a woman named Mayra and they invite Arenas on their honeymoon. Arenas continues to seek affairs in Havana. The government calls on Lázaro to work the sugarcane harvest. The work causes him to suffer a series of nervous breakdowns that leave him emaciated and self-destructive.
Through Prado Arenas meets a man named Samuel Toca, a Christian anglophile who tried to escape Cuba by boat to Grand Cayman Island. Toca holds literary gatherings and orgies in his cell at the Episcopal cathedral. Toca, Arenas, and Lázaro find a woman in Matanzas who promises to smuggle them out of the country. After Arenas returns to Havana from Matanzas, Víctor confronts him about his escape plan and threatens to return him to jail. Arenas suspects Toca of informing.
Around this time, people in the literary scene in Havana start a “war of anonymous letters,” circulating insulting, slanderous letters about their enemies (503). Prado and Arenas instigate a feud between Toca and Malas by circulating a letter they write detailing Toca’s gay orgies and telling Toca that Malas wrote it. After the letter begins circulating, people add slanderous accusations to it and eventually someone posts it to the door of the Episcopal church where Toca lives. Enraged, Toca fights Malas.
In 1979 Castro throws an International Youth and Student Festival in Havana that depletes the country of food. People begin stealing zoo animals to eat. Arenas struggles to find both food and a job. Castro decides to expel some former political prisoners from the country, including Toca. The privilege of leaving Cuba inflates Toca’s ego. After arriving in Paris, Toca broadcasts the secret messages Arenas asked him to give to Jorge and Margarita and writes libelous letters to Arenas intended to endanger him with State Security (which reads all incoming letters). State Security refrains from imprisoning Arenas again to avoid further scandal but increases its surveillance of him.
In 1980 Piñera suddenly dies under suspicious circumstances. Prior to his death, Víctor probed Arenas about Piñera’s housecleaner’s schedule, and State Security refuses to provide his body for the wake under the pretense of performing an autopsy. Castro hated Piñera because he wrote a novel in which a diamond called Delfi (an anagram of Fidel) is identified as fake and thrown in the toilet. To Castro, Piñera was an uncontrollable dissident, the persistent thorn in his side. Against Víctor’s injunction, Arenas attends Piñera’s burial where he denounces the suspicious nature of Piñera’s death. Consequently, State Security increases their surveillance of Arenas.
Following the uptick in surveillance after Piñera’s burial, Arenas realizes he has lived his entire 37 years under dictatorships, deprived of the freedom to live fully: “That was my life in early 1980; surrounded by spies and seeing my youth vanish without ever having been a free person” (489).
Though Arenas is harsh in his condemnations of friends who betray both him and their own principles by becoming informants, Arenas is also surprisingly willing to forgive them. His reconciliation with Prado indicates that while Arenas is vehement in his reproval, he is also large-hearted enough to be quick to forgive. Part of this attitude doubtless comes from a sort of necessity: Because informing is so rampant, Arenas would be practically friendless if he refused to be friends with informants.
However, the friendships Arenas maintains are fraught and he has to be careful how much of himself he shares with his friends. Castro’s dictatorship breeds a culture of slander and backstabbing. The “war of anonymous letters” exemplifies this (503). Many things are illegal under Castro and an anonymous accusation is sufficient to prosecute, or at least persecute, someone for a supposed offense. The circumstances amplify petty grievances and interpersonal feuds, as people can anonymously injure their enemies by anonymously slandering them. Arenas is not above such tactics, using an anonymous letter to get revenge on Toca, who he suspects informed on him. Trusting a friend is dangerous because they could inform on him at any time, or exploit Castro’s restrictions to injure their enemy in some way, as Toca does to Arenas after he emigrates to Europe.
The rampant atmosphere of distrust is part of what makes Arenas’s relationship with Lázaro special. He does not worry that Lázaro will betray him. In Lázaro, Arenas sees his teenaged self if writing had not saved him. Lázaro wants to be a writer but is fundamentally blocked, denying him the escape that writing affords Arenas: “[Lázaro] wanted to write but could not do so; after two or three lines, he would let go of the paper and cry in impotent rage” (483). For Arenas, writing is an escape from repression and, in the beginning, a means to escape the tedium of living with his family in Holguín. Like Arenas, Lázaro suffers from feeling unwanted at home, but unlike Arenas he lacks the ability to find an outlet for his feelings.
One of the freedoms Arenas finds in writing is humor, a freedom suppressed under Castro. His mocking tongue-twisters expose the absurd hypocrisies of Castro’s regime and his supporters, stripping them of some of their power. Revealing the absurdity behind the pompous facade adopted by the Revolution deflates its grandeur. This makes satire, and humor more broadly, a threat to Castro, who consequently tries to ban it: “Historically, Cubans have found escape from reality through satire and mockery, but with the coming of Fidel Castro the sense of humor gradually disappeared until it became illegal” (494). Arenas’s mocking tongue-twisters spread throughout Havana, undermining the regime’s reputation and giving Arenas a fresh outlet for dissent.
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