RIVER H / Orlando Luis Pardo Lazo

THE WAILING OF THE HUDSON RIVER

Orlando Luis Pardo Lazo

Why does it wail, do you know?

The Hudson River wails at dawn. It makes like a low curve underneath the bridge or against its columns and then its metal waters arrive up to the terrace where I take cover from the cold that comes from the most ancient New York (city of a thousand films in my provincial imagination). And where a little bit of a Havana fled, that tried and tried, but still won’t die in my soul.

It would be cruel if at these heights of the dis-history my city wouldn’t let me forget her. I am a man. I lived in her for 40 years. It’s time to rest now. I’m exhausted. My eyes are so sad from so much seeing and seeing, without you looking at me. Even the colors have changed, like the afternoon that puts itself out from pure tedium. It’s time to rest. Havana, listen to me, please. Stay the fuck back.

If the Hudson River didn’t wail of doomsday at dawn, I would have to pull my head out of a 19th Century brick building. There are such beautiful and free people in this city. They look for you with a certain light of hope. Spring doesn’t manage to distort the jewel grey of Washington Heights and its desperate terracotta facades. This neighborhood all at once reminds me of the Lawton of my childhood. I know I don’t know what I’m saying, but it’s true. I had 40 years built up living secretly in a corner of the planet like this. A slice of insanity. A vision, a mirage. Miracle. Come along now, you.

The little glass-coffin windows filter voices coming from the floor below or the next state of this super-country. At last, after having counted so many stars and adding one more for Cuba (I grew up around these kinds of jokes), I don’t know how many shine in the blue rectangle. The US flag, let’s say it before it gets any later, is one of the most precious in the world. By some miracle, I prefer the Cuban, I don’t know why. Perhaps it’s because of its sensation of geometric imbalance or incompleteness.

I’ve seen beggars covered with circus tarps in New York and in Washington (I’m going to come to stay and live in Washington when I feel that my heart won’t die: it’s not a city, it’s a stage, and I love spaces that overflow their own extensions). Very few beggars, but I’ve seen them just the same. Many times more swarm in the streets of downtown Havana, and they smell worse. It’s just as cold and the night is long. I sympathize. I think I don’t have money enough to even buy one of those tarps. I’m a mannequin recently departed from the hands of a State that no one stops talking about here. I am in New York somehow only for that: to disown myself of all possessions and stay like the dream of a simple voice. The voice of those who indeed have a voice and are now about to lose it forever in a mock country. My country, a deal between the high powers of crime and the economy and the purple boasting of those who believe in incubating God in the archbishopric. And my voice, you know well that it’s your voice because so it has always been, brother, from Cuba. Your voice from Cuba where you shall want what you might be and shall now never return to listen to it, my love.

Hudson River, howled by Steppenwolf. There is a fury of end of the earth in me tonight that requires me to chew the glass from the windows, rip curtains, and business up out there, and sink myself in the trachea of a subway that reminds me of the dim light of Route 23. In the cafes the neighborhood girls are all left-handed and read A Streetcar Named Desire for hours. I click the arrhythmia of an anti-academic counterrevolution, as intolerable on the island as it is in exile. Inmanipulable, for that matter, intoolerable. Let me go home. And I go.

And my home turns into being my body, housing a frightened mind. It’s obvious that the government is hunting us crassly, tuning their aim as if we were ducks fleeing in the spring. And we are. A night in 1900-something, three days ago, I saw ducks in the frozen water of the monolith in Washington. I also saw a mistake in the Lincoln Memorial. I saw smoke in the sewers. Special pins from the State Department. And a loneliness of staff meetings that held me with pain to my bones until someone said something to me and laughed afterwards, restoring the order of things in the universe. The universe as a billiard ball, rolling as a vile buffalo.

Sometimes it howls. Wail. World Wide wail that makes the Hudson indistinguishable from an ambulance (those ambulances of the soundtracks with saxophone and sex that I used to see when I lived there, on the other side of the bay and the sky with microscopic flakes from the end of winter).

All writing is a farewell to mourning. New York is preparing itself for our slaughter. We are going to annihilate the Cubans. The desert must rule, life is a leftover. I’m announcing it with a gushing pleasure that will not explode on you. In more than one sense, until the last Cuban does not die violently, Fidel Castro will not know how to die.

(This last prayer is the most intimate crystallization of the beauty exposed before the dismay of those who don’t know how to hear. Then hear me, my characters: Ipatria, Olivia, Sally, finally …)

I’m going to stop. I’ve spent many days without being able to add an image to my madness. I’m trying to invent words. Other names for another novel. Rosemary, Samantha, Kate. Always girls without end … of boys I wouldn’t be able to write even a dialog. The boy is me and I’m dissolving more with each period.

Amen, my dears. Let me go.

Translated by: JT

13 March 2013


While You Were Sleeping / Orlando Luis Pardo Lazo

While you slept

Orlando Luis Pardo Lazo

Ice is dead water.

I smell bad, like a homeless person in a subway car in New York. Although my scent doesn’t please me, it belongs to me. Private property in my absolute state of biologisity.

Exile is so exciting. All of us have been waiting for this occasion so much.

Dying among strangers is a privilege of the virtuous and angels. You know that I have no virtues.

There is no homeland with virtue. All homelands are a virtual shaving.

The transparent May night won’t let me sleep. I dream about North American scenes. Do Cubans dream with electric sheep? This is the way we wash the clothes, wash the clothes, wash the clothes, every Monday morning. Tom is a boy and Mary is a boy, too. One, too, how old are you?

Days of untranslatable drama (I prohibit the English version of this line*), dawns where the Hudson River falls silent, dizziness of a new century and end of the Revolution. I ask myself if somebody is peeking out at Night York in the Cuban mission by the UN.

It will be beautiful to see the new hatreds in the distance. The hour approaches, our time is near. Ideology turns into crime without the complexity of guilt. Idiot discipline. The mediocre efficacy of selective genocide is being committed against the citizens of my country. I ask myself if serial killers are sleeping with loose legs at the pile of Lexington Avenue and I-don’t-know-what street.

In human annals, nothing equals the marvelous despotism of an island left behind by the change of another island without interpretation. Freedom is an act. Manhattabana, mon amour.

My word is immaculate as a real virgin. My word perpetrates, penetrates. My word is an ephemeral fountain of reality. And reality is dirty ice, base material of the comets, water of stone or metal. Continue reading


Willy and the Magic Beanstalk / Orlando Luis Pardo Lazo

willytoledo23_0As a birthday present, Willy Toledo announces that he is going to live to Havana.

At forty something and with his own First World “savage capitalism” bank account, it was now time for the actor to star in one of those “humanist processes that have improved the lives of people” and which are an “example of heroic resistance” to imperialism (that ghost that corrodes Europe: envy of life in America).

Perspicacious people that we are, Cubans, not without curiosity, give him the most post-Communist of welcomes. No one who feels pressures in a “fascist national-Catholic” regimes deserves to live in it forever. And Cuban has half a century of compassionate experience in that respect, which is why accept with our proletarian patience one more of the many media stars who have come to discretely detoxify themselves in a private State clinic.

The “Spanishfication” process of the Island (where nearly a third of a million nationals are looking to escape thanks to the baptismal faith of their grandparents) now has a reverse flow of Iberians: after the Basque ETA terrorists from decades past — half entrepreneurs and half hostages in Cuba — we receive a terrorized Willy Toledo. Literally, because “democracy in absolute deficit” has collapsed his emotional stability. No one is alive there. It’s a question of brains.

Willy Toledo will come as an ideological tourist to find that the most beautiful land is the same one espied by him from his Marxist hound’s crows-nest, with its idyllic ration book and its atrocious business inefficiency, with its scarcity of guaranteed rights even in the Constitution, with its national apathy and criminal hypocrisy, with its zero internet and prophylactic Majority Report style laws, and, above all, with its “suspected dissidents” imprisoned as “traitors” and “common delinquents” like Orlando Zapata Tamayo, his family filmed while he was left to die in the hands of State Security after a hunger strike and torture in prison, and towards whom in 2010, while his body was still warm, Willy Toledo showed no mercy.

Or perhaps he comes with the academic pretensions of a performing Patrick Symmes, who pretends to survive thirty days like a Cuban in Cuba, with fifteen Yankee dollars in exchange for reading, with sleepless irony, not so much Harper’s Magazine as Les Miserables (unspecified if in a local edition).

Or he could come like a killer whale with cancer that stops in the Cubag Archipelago to immolate himself on the shabby stretchers of Havana hospitals, and even donate his body to the aboriginal quacks of the Latin American School of Medicine: a kitsch Keiko with no reasons to rebel, except to evade his taxes (like leftcopy Gerard Depardieu renouncing Europe in favor of the ex-KGB). In this case, our William Tell could end up like Antonio Gades, buried in the east of the Island as a Hero of the Revolution, with the profits from a dwarf statue in Old Havana.

The Cold War rhetoric of Willy Toledo is as simpatico as renting his unshaven face for the Christmas 2007 campaign for the World of Warcraft video game. In any case, with his putative visa as “foreign trainer,” Cuba could be continue to be a “reference” and “symbol” for the “real socialists of the world” where the “Rule of Law has been completely wiped off the map,” though for him, it will not be. In fact, in Cuba he will be much more hidden from within, thanks to the guarantee that nothing will happen like what occurred in Spain at the end of March in 2012 (with the silent consent of the Catholic hierarchy) when hundreds of peaceful activists were kidnapped by the political police just when Willy Toledo was xenophobicly vandalizing a bar in Madrid. In Cuba, what’s more, his anti-monarchic intolerance could heal, through living without outrage for the rest of his life under the democratic dynasty of Castro & Castro Ltd.

The Cuban population pyramid, like a mimetic trend of the rest of our society, is also upside down. There is a permanent plebiscite of the feet: everyone leaves (we all left). Hence, the importance for Raulism of reforesting with subjects who guarantee their governability. Privatizing Cuba with faithful foreigners so that we Cubans won’t reconquer the end of the Revolution. Operation Free Willy would be inserted within these objectives of the transition scheme announced for 2018.

Welcome, then, to the Revolutionary Court, Comrade One-Eyed Willy.

From Diario de Cuba

13 May 2013


For Cubans in Cuba, the Revolution Hasn’t Begun / Orlando Luis Pardo Lazo

Photo: OLPL

Photo: Orlando Luis Pardo Lazo

From Sampsonia Way Magazine: In March the Cuban columnist Roberto Zurbano published an article in The New York Times entitled “For Blacks in Cuba, the Revolution Hasn’t Begun.”

Although the author himself has since said that his text suffered from editorial interventions (namely that the title should have read “For Blacks in Cuba, the Revolution is Not Yet Finished”), his perspective has still caused a huge reaction on and off the Island. Consequently, a variety of responses to the article appeared in the Cuban online press.

At the time it seemed that the Island’s racial polemic might finally come out of the closet of censorship into the public arena. But unfortunately, at the beginning of April, the Editorial Fund of the Casa de las Américas in Havana dismissed Zurbano from his post as its director.

Thus, the logic of totalitarian intolerance won another battle. Cuba isn’t changing, even though everything looks like it is.

And Afro-Cubans are not the only ones in Cuba left without their fundamental rights. Over the past half-century the anti-democratic tradition on our island has not set out to back racial apartheid, but rather civic discrimination, whereby the State claims that no dissident voice is legitimate, where no law is born out of the people’s wishes but instead by decree of the historic caudillos, where a human being’s fundamental rights are still held hostage in the name of utopia.

In his controversial article, Zurbano claims that “It is unrealistic to hope for a black president, given the insufficient racial consciousness on the island.” But in these historic circumstances what should urgently be made realistic is for Cuba to gain in social conscience and for the president of our country to finally be a public servant, not a demagogic messiah.

Read Orlando Luis Pardo Lazo in Sampsonia Way Magazine in English and Spanish here.

13 May 2013


The Writer’s Block: A Video Q&A With… / Orlando Luis Pardo Lazo

MEgMXkQQytmFz1fBfUryD49X8_v33-uuyDosPxlvatI-e1367350163842Photo: David Lewetag, Elevation Loft.

The Writer’s Block is an ongoing video series of interviews with visiting writers at City of Asylum/Pittsburgh. In these Q&A’s, conducted on Sampsonia Way, writers sit down with us to discuss literature, their craft, and career. View all previous interviews here.

In April 2013, Cuban writer Orlando Luis Pardo Lazo visited Pittsburgh as a part of his U.S. trip. He read at a City of Asylum/Pittsburgh event held at Bar Marco in the Strip District. Before the reading, Lazo sat down with Sampsonia Way to talk about how he views himself as a writer, his least favorite interview questions, and why he can’t stop writing.

From Sampsonia Way Magazine

2 May 2013


On the WWW Road / Orlando Luis Pardo Lazo

DSC03415Last month, social activist Yoani Sánchez (blog Generation Y) and I became the first pro-democracy bloggers that, while still living in Cuba, were allowed to visit and speak freely in USA.

We were welcomed in Washington by U.S. Congressmen, and by ministries of the White House and the State Department. During the last half century of the so-called Revolution, such behavior has been considered by our government as a declaration of war. This is why the solidarity of the international community is so important under these unprecedented circumstances.

As part of the Cuban State’s efforts to silence us, our presentation to U.N. journalists in New York was boycotted from Havana. Via a top-level protest (supported by anti-democratic nations), they denied us our right to speak in the scheduled public room. Instead, our speech took place in a tiny corridor, where Sánchez’s voice resonated like a ray of hope, and the world came to see how human rights are disregarded in today’s Cuba — and perhaps in tomorrow’s, too, once Raúl Castro has imposed a kind of State capitalism which no Cuban ever voted for.

During those brief, but intense encounters, the focus was on mutual respect, the process of building bridges through dialogue (something that the Cuban State would never tolerate), and on a future of understanding, rather than dwelling on a past of irreconcilable mistrust. Freedom is not a luxury of the First World. As the dissident leader Oswaldo Payá said: “Without hate but also without fear in our hearts, Cubans are ready for freedom and we are ready now.”

During our tour, we shared with a community of Cubans in several cities, who until then knew us only through the internet: virtual friends who for years have been actively collaborating with our independent projects inside the island. These projects include the digital magazine VOCES, the photo documentary contest PAÍS DE PÍXELES, and the filmed debates of RAZONES CIUDADANAS.

Civic society in Cuba is a fragile emerging phenomenon that has gained global attention despite the limited access to internet and repression in Cuba. As a reader, you can shed light upon the real Cuba that tourists and enterprises are willing to ignore. You can help our people to peacefully achieve a more inclusive nation. You can help us reach the future that all human beings deserve, regardless of ideology.

From Building Bridges, the official blog of Boston College’s Cuban American Students’ Association (CASA)

28 April 2013


Lens With Lyrics: Statuary / Orlando Luis Pardo Lazo

1 ESTATUARIAWhat remains of the Virtue Guardian of the People? What remains of the Progress of Human Activity? Everything, of course, They were forged for posterity.

The Capitol was decapitated as an institution. Its decadence expressed majestically in the tattered officials under its vaults and the urine of the stateless drunks around about. The odd graffiti on the steps. Scaffolding and shadows, nothing more, a most Cubanesque puppet theater.

The people learned the advantages of fleeing, like the plague, from any left-over virtue. Progress was definitely taboo, half bourgeois and half Marxist. Our humanity itself sank, from excessive levity. Island of Cork, Capitol chipped away.

Each morning the statues are more alone. Looking off into the distance but not even seen there, despite continuing at the same distance, guarding the steps.


Lens With Lyrics: For a Christian Marti of Liberation / Orlando Luis Pardo Lazo

3 POR UN MARTÍ CRISTIANO LIBERACIÓNIt wasn’t a too Christian life that brought him to his too Liberated homeland, but a barbaric war that devastated Cuban families to the point that he killed himself in a such a scenario of caudillos and criminals; his black frock coat attracting the Spanish bullets and the machete slashes of an Afro-Cuban ex-slave.

Equally his hand raised today in an L more lucid than loquacious. That kind of noble stone on its pedestal is like collecting signatures, like reuniting true wills to give the socialist system its final thrust (frying it in its own unbecoming sauce).

Then let’s go with him. Let’s make a decentralized flash-mob in Central Park. Climb on his shoulders and even turn back to pee on him (nothing more human than exchanging fluids). We have to get him out of those dead marble cloisters.

Translated from Elblogahora.


Lens With Lyrics: Battlefront / Orlando Luis Pardo Lazo

2 FRENTE DE BATALLAAmerican cars continue to be a fifth column nailed into communist heart of the Revolution. They come from the republican prehistory and yet belong to the democratic future of the nation. They lasted, despite the asphyxiation and the repressive workshops without replacement parts, where they “adapted” them to change their original bodies. But the American cars are not a museum, much less a mausoleum of memory, these hard-shelled “almendrones” (named after almonds) are nothing more than a rolling plebiscite.

Translated from Elblogahora.


Miami, My Love / Orlando Luis Pardo Lazo

Miami. From DiariodeCuba.com (Source: metrojacksonville.com)

Miami. From DiariodeCuba.com (Source: metrojacksonville.com)

And, finally, Miami.

After decades of Made in Havana propaganda, I could travel that explosion of expressways called Miami (the entire city is an airport), where every little house is a clone of a Cuba lost forever (with their flags and little virgins), where every generation has at least one family representative, where the food remains as intact as a five-day-old, or five-decades-back memory, where dancing and laughing and even making love hurts us deep in the soul, where God speaks our exile slang perfectly. Because everyone in Miami is us, we live there or here: the city was built like a dream from which sooner rather than later the nation would wake up, a dream to conceal the nightmare of never returning home (Miami, mercy).

I entered and left Miami through the magic mirror of its radio and TV stations. It’s a miracle against modernity this hypermedia Miami, so homogenous and yet so plural. As banal as it is true-to-life. It could be a first impression, but after the despotism of Havana, where there are no longer any live programs (even the speeches of the Maximum Leader are broadcast with a few seconds delay, for protection), Miami simply amazed me. From sadness, but it amazed me.

With the mordant and lovable Jaime Bayly, with the precision to the point of causticity of Juan Manuel Cao, with the impassioned chorus of María Laria and her glitzy staff, with the eternal solidarity of Radio República and, of course, with the heart in the microphones of Radio Martí, the only broadcaster of the Cuban exile that transmits almost from the interior of the country (its studies are not in Havana but they have much of Havana and the other cities and towns of our country), with all and for the ratings of all I said the first thing that came to mind, without agendas dictated by any imaginary mafia of the Ministry of the Interior, without mutual fear nor mediocre censorship, without adding not even a line to what I have always said from my Cuban cellphone in my native Havana neighborhood.

We Cuban social activists agree that “to think and live in freedom is to learn thinking and living freely,” a phrase of Rosa María Payá’s at the University of Miami that electrified even the tears of this second capital of all Cubans (perhaps the first capitalism of all Cubans), where she and I coincided, each in transit to our own democratizing destination for our repressive country.

I resisted indulging my appetite in Miami, I have witnesses to my austerity. The food didn’t go down my throat: some kind of anguished happiness made me ignore my old acquaintances, living their successful lives in a Cuba that in Cuba we couldn’t even imagine (or we didn’t dare to imagine, and so delayed our respective exiles).

I saw the sea of Miami, but I didn’t look out on it nor want to smell it. I didn’t want to imagine the Island on the other side of the horizon, 45 minutes to where the Cuban political police wait for us to put us in quarantine without charges.

I felt the heat. They offered me a job, I didn’t answer. I slept on a sofa. I slept in a suite. I slept almost in a closet, at the edge of the probing looks of our civil society where I was a first-timer and happy. I remained sleepless in an airport of flights cancelled en masse by American Airlines, with the intuition that Miami had cast a spell on me to not let me leave.

Finally, I came, I saw, and I went, because Manhattan is less desperately Manhattavana, and because to vacate the subways is the secret formula of my subterranean Cuban-ness that flees Cubans because we all have within a mini-ministry of the interior. Everyone, starting with the pro-democrats.

I moved in the free cars of Facebook activists whom I didn’t know in person, but who from the beginning of the chats we already liked each other, beyond political or geographic positions. I spoke in the mythical Calle 8 Art and Research Center as if I was very sure about what I was saying, while my spirit was then a tissue of pure emotion. I flew to and from Miami thanks to the generous pockets of Cuban entrepreneurs who want Cuba more than me, people of diverse economic strata who treasure the archives and the illusions that dictatorial laziness derailed, destroying not only our rights as citizens but, with the same idea, a nation.

And this will be the most sinister, but also the most sincere legacy of Castroism or the Revolution: the day after is already humanly impossible. Our present precariousness is perennial. The elite in power have taken the necessary steps for a staged transition (and this includes my presence here: Miami, forgive me), where the peaceful dissidence inside and outside of Cuba will have no more space than the scaffold and, in fact, we are disappearing drop by drop and without witnesses of interest to the world, because the world is only interested in the millions and millions who now promote this neo-utopia that exploits capitalism without freedom. Businessmen of all countries, unite.

I spoke with personalities from Cuba’s republican history and about our most intimate and tense relationship with the government in Washington. I saw fewer homeless than in New York where, in turn, I saw fewer than in Central Havana, although this does not alleviate the humiliation of seeing myself flying to American universities while a human being sleeps on the sidewalks of this permissive country.

I want to return to Miami. I would not want to return ever again. I’m still about to leave. But very soon I will return. Miami, look at me: do you want to be my love, at least while Cuba doesn’t fall?

From DiariodeCuba.com.

24 April 2013