Book Description
This dramatic story of how a New York Times reporter helped Castro come to power offers illuminating insight into the fraught history of Cuban-American relations and the precarious balance between truth and myth
In 1957, Herbert L. Matthews of the New York Times, then considered one of the premiere foreign correspondents of his time, tracked down Fidel Castro in Cuba's Sierra Maestra mountains and returned with what was considered the scoop of the century. His heroic portrayal of Castro, who was then believed dead, had a powerful effect on American perceptions of Cuba, both in and out of the government, and profoundly influenced the fall of the Batista regime. When Castro emerged as a Soviet-backed dictator, Matthews became a scapegoat; his paper turned on him, his career foundered, and he was accused of betraying his country.
In this fascinating book, New York Times reporter DePalma investigates the Matthews case to reveal how it contains the story not just of one newspaperman but of an age, not just how Castro came to power but how America determines who its enemies are. He re-creates the atmosphere of revolutionary Cuba and Cold War America, and clarifies the facts of Castro's ascension and political evolution from the many myths that have sprung up around them. Through a dramatic, ironic, in ways tragic story, The Man Who Invented Fidel offers provocative insights into Cuban politics, the Cuban-American relationship, and the many difficult balancing acts of responsible journalism.
Customer Reviews:
"Where exactly does the myth end, and truth begin?".......2007-09-25
It takes a lot of fortitude for a New York Times writer to tackle this subject, one certain to cast the Times in a less than shimmering light. Author Anthony DePalma notes that in his acknowledgments when he says that "Bill Keller, executive editor,...winced when he heard that I was writing about [Herbert L.] Matthews after so many unflattering books about the newspaper were being published but encouraged me anyway." What DePalma reveals - through some magnificent research and writing - is a situation far more complex than one reporter's "self-confessed passion for underdogs," which made him "easily won over by those he covered, regardless of their politics."
Matthews is pegged as the first of a long line of individuals taken in by Fidel Castro, who - as DePalma perfectly notes - "was capable of constantly reinventing himself and creating myths about his persona and his beliefs...he had become a political chameleon who could bedevil both friends and enemies."
DePalma's tour de force chapter is the penultimate one entitled "A Cordial Witness." I have passages flagged on almost every other page. One standout is this one: "Che understood the value of Matthews' bias from the outset, as had Castro, because both men were masters of propaganda and manipulators of image. They were far more perceptive in this regard than Matthews. They exploited Matthews' bias while he never accepted the notion that his writing had created a skewed picture of reality that, for a time, had become reality itself."
Mr. DePalma does a fantastic job synthesizing original material from the Matthews Library at Columbia University (Matthews kept every scrap of paper he had ever scribbled on), the New York Times files (which reveal deep concerns about Matthews' partisanship throughout his long career), FBI files about Matthews (DePalma filed a request under the Freedom of Information act), and recollections from Matthews' son and daughter which included the big surprise of a last unpublished manuscript - in longhand - in the possession of Priscilla Matthews.
This is an excellent book, surely the best I've read this year.
A Timely Look Back at Castro's Beginnings.......2007-03-20
Now that it seems likely Castro's regime is finally waltzing through its twilight years in Cuba, this book provides a timely look back at how it all started. It seems reports of his death were greatly exaggerated - back in 1957. That's the year he returned to the Oriente District of Cuba with the ragtag band of revolutionaries he had rallied to the cause of Cuban liberation. For months, everyone in Cuba assumed that he and his entire little brigade had been wiped out by Batista's soldiers as they patrolled that densely wooded part of Cuba's southern coast.
However this book isn't really about Castro. It's about Herbert Matthews, the New York Times reporter who hiked into those woods, got an interview with Castro, and brought out the news that Castro was actually alive and well. It's about how Castro made such an impression on Matthews during that brief interview, that Matthews forever after championed and defended Castro to the American public, denying all the growing suspicions that Castro might turn out to be, not a liberator, but a Communist dictator.
I had hoped that this book might shed some light on how Castro's presumed idealism (if indeed it ever existed) morphed into just another raw exercise of power. But there is no psychological analysis here. There isn't much insight into how yet another revolution turned into tyranny - other than DePalma's observations that Castro was always flexible, looking for the better chance to consolidate his power. You'll have to look to other books for deeper answers to why so many revolutions fail, if in fact such answers exist anywhere.
This book stays more exclusively with Matthews. It tracks his dogged belief in Castro's overall good intentions. And it follows the public's reaction to Matthews' reporting - from initial enthusiastic acceptance of Matthew's heroic view of Castro, to repudiation and even revilement.
DePalma's writing tends to be plain and reportorial, although he does get in the occasional telling turn-of-phrase - as for example when he compares Matthews to a piñata that so many delighted in bashing for America's failed forecasting of Castro's intentions. Generally though, DePalma just writes good clear sentences that make for easy reading. In a relatively short time, this book will arc you the whole way from Castro's rebel retreat, through the Bay of Pigs, and on to the more recent stand-off between the U.S. and Cuba.
the man who invented fidel.......2007-01-28
Found it to be a light and enjoyable read of Cuba of the Fifties and Sixties and the United States reactions to what was taking place there. Specifically Batista, Fidel, Revolution and Communism. The story about NY Times journalist Herbert Matthews and his relationship with Fidel, who Anthony DePalma uses to help you relive that experience make the story much more real then your normal run of the mill book on Fidel and his rise to power.
Fidelity to Truth.......2006-07-17
While many will buy this book to learn about Cuba and Castro, I think its greater value will be for those interested in journalism. How close can a reporter be to his or her source before bias surely intrudes? When does a reporter's decided notions of what ought to happen, prevent even-handed and clear reporting? How much backing--or control-- should be given an experienced reporter by a newspaper's editors?
To me, the story of Herbert L. Matthews is of current interest not because of what happened with Castro over fifty years ago--but of how it informs today's debate over current journalistic standards at The New York Times and other major media outlets.
Another example of dishonest reporting at the NYTimes .......2006-07-13
This is some good reporting about the facts associated with what Herb Matthews did to paint a phony picture of Castro for consumption in the USA during the height of the Cold War. There are many good details that show that Matthews really followed in the tradition of Walter Duranty who mislead the world about Stalin's mass murder of Ukrainians which was on an even greater scale than Hitler's treatment of Jews, Roma, and others during his attempt to conquer the world and rid it of non-Aryans.
The problem with this book is that Depalma gives Matthews way too much the benefit of the doubt when it comes to whether he was just naive, or if his political agenda, in a newsroom full of Communist sympathizers at the Times, led him to write fiction instead of honest reporting of Castro.
Matthews is one of many whose dishonest reporting should have made the Times fall by the wayside as many papers did all over the country, but when you have such deep pockets, and a politically driven leadership in a very liberal town, you don't need honest reporting when preaching to the liberal choir.
But in any event this is a good read as long as you recognize the editorializing vs. the reporting.
Book Description
In Cuba something curious has happened over the past fifteen years. The government has allowed vocal criticism of its policies to be expressed within the arts. Filmmakers, rappers, and visual and performance artists have addressed sensitive issues including bureaucracy, racial and gender discrimination, emigration, and alienation. How can this vibrant body of work be reconciled with the standard representations of a repressive, authoritarian cultural apparatus? In Cuba Represent! Sujatha Fernandesâa scholar and musician who has performed in Cubaâanswers that question.
Combining textual analyses of films, rap songs, and visual artworks; ethnographic material collected in Cuba; and insights into the nation’s history and political economy, Fernandes details the new forms of engagement with official institutions that have opened up as a result of changing relationships between state and society in the post-Soviet period. She demonstrates that in a moment of extreme hardship and uncertainty, the Cuban state has moved to a more permeable model of power. Artists and other members of the public are collaborating with government actors to partially incorporate critical cultural expressions into official discourse. The Cuban leadership has come to recognize the benefits of supporting artists: rappers offer a link to increasingly frustrated black youth in Cuba; visual artists are an important source of international prestige and hard currency; and films help unify Cubans through community discourse about the nation. Cuba Represent! reveals that part of the socialist government’s resilience stems from its ability to absorb oppositional ideas and values.
Book Description
Events in Fidel Castro’s island nation often command international attention and just as often inspire controversy. Impassioned debate over situations as diverse as the Cuban Missile Crisis and the Elián Gonzáles affair is characteristic not only of modern times but of centuries of Cuban history. In this concise and up-to-date book, British journalist Richard Gott casts a fresh eye on the history of the Caribbean island from its pre-Columbian origins to the present day. He provides a European perspective on a country that is perhaps too frequently seen solely from the American point of view.
The author emphasizes such little-known aspects of Cuba’s history as its tradition of racism and violence, its black rebellions, the survival of its Indian peoples, and the lasting influence of Spain. The book also offers an original look at aspects of the Revolution, including Castro’s relationship with the Soviet Union, military exploits in Africa, and his attempts to promote revolution in Latin America and among American blacks. In a concluding section, Gott tells the extraordinary story of the Revolution’s survival in the post-Soviet years.
Customer Reviews:
There are better books out there.......2007-04-14
If you're looking for a fast, shallow treatment of Cuban history, written by a largely uncritical supporter of the Cuban Revolution, then look no further, you've found it.
I've read Hugh Thomas' book "Cuba: The Pursuit of Freedom" (which is 1800 pages long or so, it's only flaw being that its coverage of history ends in the late 1960s). Naturally, I expected Gott's book to pick up where Thomas' book left off. And, while Gott's book does cover the revolution between 1970 and now, it does not provide any real depth or insight. Thomas' book was obviously written by a scholar who is looking to form a complete picture of Cuba's history; Gott's book, on the other hand, reads more like a newspaper article - perhaps because Gott is a journalist by training.
If you're looking to really learn about Cuba, definitely get Thomas' book. Gott's isn't TOO bad, as long as it's what you're looking for.
Ignore the disinformation.......2006-05-27
-- of those one-star reviews. They have their own biases and axes to grind, as they link you to rightwing websites full of lies and distortions of their own. These folks want to squelch and slander anyone with a differing point of view, especially regarding Cuba. When talking about "agents of influence," it is pertinent to remember these "reviewers" are likely themselves members of organizations sent here to trash this book.
Mr. Gott is a well-respected journalist on Latin American affairs, one who has been avowedly sympathetic to the Left, armed struggle, and the Cuban Revolution. However one may agree or not with his views, they are necessary to read if one would wish a well-rounded education on Cuba. Beware anyone who tries to suppress this book, as they are guilty of the same thing of which they accuse Fidel Castro.
Not for the uninitiated in Cuban history........2006-02-06
A tolerable book, only if read as one of several Cuban history books, because of its thoroughly sympathetic (and apologist) depiction of Fidel Castro's 1959 Revolution. It is perfect example of a view of Cuban history that pretends to be academic and unbiased but in reality closely spouses the current government's portrayal of Cuban history, devoid of democracy and equality and where the past is little more than the struggle that leads to Socialism. In that context, it is a good book to read because it illustrates what the current Cuban Governments is attempting to do to the country's history.
Many basic spelling errors of a significant number Spanish words or names the author introduces are off-putting and bring into question his qualifications as a Cuban scholar thoroughly familiar with his subject. The author uses very few source documents, opting instead to quote prejudiced opinions of earlier academics (who tend to quote earlier academics) or casual observers to prove the points he wishes to stress. He also buys into (and sells) the mythology of Fidel Castro earlier year as the chosen one, the inheritor and sum all of Cuba's past "caudillos." Moreover, the author omits or manipulates important facts if they interfere with the storyline. The book should be ignored if it is intended to be your only source of Cuban history.
Richard Gott Agent of Influence.......2005-08-26
When I picked up this book in a used book store, I read selected sections on matters I knew very well, read the authors passages on these matters and decided that this book was not only biased but deliberately and maliciously so. Pertinent data was omitted and selectively included data distorted.
Thus I did not purchase it. I will buy it here in used form so that the author does not receive any of my money, my purpose of this purchase is to fully document this and other malicious presentations of Cuban history.
At that the time I picked up this volume did not know that letters to London Times had labeled Richard Gott as an "Agent of Influence" e.g.
http://www.freerepublic.com/focus/f-chat/1376998/posts
or that he had been said to be a former KGB agent
e.g.
http://www.weeklystandard.com/Content/Public/Articles/000/000/005/583hqfaw.asp?pg=2
What I did know was from family history in Cuba that the author Richard Gott was re-writing the past. I concentrated in my sampling on the so called "race war of 1912" (it would seem that the author misdates it, and mixes it with the rising of 1906 in which my grand uncle Mambi General Carlos Garcia Velez was deeply involved). In this 1912 horror some of my family's property was burned.
Initially this sad 1912 matter had come to my attention some years ago when I was puzzled why the so called Mambi of the "Independentes de Color" would burn down property of the Mambi of my family.
Soon it became clear through critical readings that what the "Independentes de Color" were attempting to make a separate country, where they could rule despotically. This was apparent to most of the Mambi of that time and place and thus they, what ever pigment shaded their skins, did not take their war skills and courage to this fight.
These Mambi who refused to join the revolt had already used all their influence to try to avoid this clash, and to have some of the future revolt's leadership released from jail for inciting racial murder at the most trivial of excuse.
This lack of participation of the majority of the Mambi doomed the the revolt attempt from the very beginning. Then it was widely perceived, although apparently never quite proven, that this revolt was Haitian in origen and in intent. Some Dominican Republic activists of similar shaded skins, but few Cubans were shown to be involved. It was a racist revolt, where virtue was thought to reside only in those with the very darkest of skin.
As to the Siboney (Cuban Taino, Cuban Island Arawak) involvement much touted on the cover I see very little proof of that in this volume although there were a good number of such, including members of my family, involved in the Cuban wars of Independence. One may note in this reagard that my Mambi ancestor whose property was destroyed was probably part Siboney and certainly his wife (one of my maternal grandmothers) was Taina.
All this does not excuse the bloody actions of former General Monteagudo that followed the repression of this revolt, yet it does make their outraged anger far more understandable. For it was characters of this type and racial background that joining with Spanish General Weyler as "Guerrillas" slaughtered massive numbers of other Cuban in the Cuban Wars of Independence. One may note that butcher Weyler prided himself in choosing these very dark skinned Guerrillas as his bodyguards....
Larry Daley (Garcia-I~niguez Enamorado)
Cuba after Castro.......2005-05-13
I read this book with some expectation. In the past British writers like Thomas had written solid essays on Cuba and its history. But I must admit my disappointment, particulary at some conclusions. For instance, Gott attempts to be controversial or perhaps iconoclastic when he notes that major US legislation affecting Cuba has been passed during Democratic administrations (a cynical reaction might be: so what?) He points to the Helms-Burton Act as an example of such legislation (passed during Clinton's presidency), without pointing out that Congress was widely split and also controlled by Republicans and that Clinton the Democrat was totally opposed to the bill. Gott's book also concludes that nothing will change after Castro. Castro, he claims, is now a puppet and there is already a subterranean government in place. But he gives us no evidence for this rather silly conclusion and in fact many scholars disagree rather strongly with such an inference. Personally, I think there'll will be chaos, infighting, and huge vendettas when Castro dies and the US needs to be prepared for massive emigration problems, medical and malnutrition challenges of major proportions when the veil over the "extraordinary" medical system in Cuba is lifted, as well as increased illegal drug activities as Cuba could become an even larger trans-shipment point for drugs.
Book Description
The art scene in Cuba is thriving as never before. Young, politically active artists are stretching the limits of creative freedom and, as tourism to Cuba continues to increase, making their mark in the international art world. Coming at a time when Americans' interest in the country and its art is at a peak, this is the first major survey to show the wide range of art coming out of Cuba today.
Overflowing with illustrations—including 100 colorplates—Art Cuba presents exciting new works, most produced in the past five years, by more than 60 artists. The mediums extend from oil on canvas, pen and ink, watercolor, lithography, and mosaic to photography, sculpture, embroidery, and performance art. The essays examine the changes in Cuban art in the decades since the Revolution and the new directions it is taking today. This comprehensive look at Cuban art today is an important addition to the literature on contemporary art.
Customer Reviews:
NICE.......2007-08-16
THIS BOOK IS FULL OF PICTURES AND REAL EMOTION BY THE CONTEMPORARY ARTISTS. IT IS A GREAT BOOK FOR THE CUBAN ART FAN AND THOSE THAT UNDERSTAND THE NEW AND MODERN CUBAN CULTURE. GOOD FOR THOSE TRYING TO LEARN A BIT ABOUT IT AS WELL. ART IS ALWAYS REPRESENTATIVE OF NOT JUST THE INDIVIDUAL BUT OF THE ARTISTS' WORLD AS WELL. CUBA SEEN THROUGH THESE PEOPLE. GET IT. YOU WILL ENJOY IT.
Art Cuba.......2007-03-09
A wonderfully clear, concise and insightful introduction to the art of Cuba from the 1960's on.
Book Description
Analyzing the crucial period of the Cuban Revolution from 1959 to 1961, Samuel Farber challenges dominant scholarly and popular views of the revolution's sources, shape, and historical trajectory. Unlike many observers, who treat Cuba's revolutionary leaders as having merely reacted to U.S. policies or domestic socioeconomic conditions, Farber shows that revolutionary leaders, while acting under serious constraints, were nevertheless autonomous agents pursuing their own independent ideological visions, although not necessarily according to a master plan.
Exploring how historical conflicts between U.S. and Cuban interests colored the reactions of both nations' leaders after the overthrow of Fulgencio Batista, Farber argues that the structure of Cuba's economy and politics in the first half of the twentieth century made the island ripe for radical social and economic change, and the ascendant Soviet Union was on hand to provide early assistance. Taking advantage of recently declassified U.S. and Soviet documents as well as biographical and narrative literature from Cuba, Farber focuses on three key years to explain how the Cuban rebellion rapidly evolved from a multiclass, antidictatorial movement into a full-fledged social revolution.
Book Description
From reviews of the first edition:
"The book is an essential source for understanding not only Cuba and its visual imagery but also the stuff of Latin American art."
—Artforum
"Camnitzer . . . is sensitive to the issues faced by Cuban artists, and provides acute insights into the problems faced by artists in developing countries in attempting to place their work internationally while locating it solidly in national and cultural concerns."
—Art Book Review Quarterly
"Making a supreme effort to remain politically unbiased, Camnitzer treats the key issues of the role of art in a socialist nation, the artists' dilemma of individuality versus social commitment, censorship, and access and lack thereof. His direct, almost conversational style makes for an informative and consciousness-raising reading. The artists emerge as distinct individuals."
—Choice
". . . invaluable in providing the 'feel' of contemporary Cuba."
—Latin American Research Review
Starting with the groundbreaking 1981 exhibit called "Volumen I,"
New Art of Cuba provided the first comprehensive look at the works of the first generation of Cuban artists completely shaped by the 1959 revolution. This revised edition includes a new epilogue that discusses developments in Cuban art since the book's publication in 1994, including the exodus of artists in the early 1990s, the effects of the new dollar economy on the status of artists, and the shift away from socialist themes to more personal concerns in the artists' works. Twenty-four new color plates augment the more than 200 b&w illustrations of the original volume.
Average customer rating:
- Recounts the journey of a twenty-nine year old wife
- Rare document, wonderful writer
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New Year in Cuba: Mary Gardner Lowell's Travel Diary, 1831-1832 (New England Diary Series)
Mary Garnder Lowell , and
Laurel Thatcher Ulrich
Manufacturer: Northeastern
ProductGroup: Book
Binding: Paperback
 Cuba
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ASIN: 1555535585 |
Book Description
In late 1831, at the age of 29, Mary Gardner Lowell and her young son George accompanied her husband, the leading Boston financier and merchant Francis Cabot Lowell II, on a voyage to Cuba, a newly popular destination for Boston gentry. They spent several weeks on the island, traveling from the bustling commercial city of Havanna to the slave plantations of Matanzas province before making their way up the Mississippi River by steamboat on the return home.
Lowell's journal of the adventure that took her from the safe and comfortable environs of Beacon Hill is published here in its entirety for the first time. She describes in vivid detail each event and observation of a journey that crossed many boundaries: between abolitionist Boston and slave-owning Cuba, between the parlor and the sugar mill, between refined Boston and the hinterlands of the Caribbean and river towns of the Mississippi Valley. As befitting a woman of her privileged class, Lowell's diary includes chronicles of social calls, parties, and invitations, as well as intimate descriptions of domestic and family life. She also comments extensively on the different social conventions for American and Spanish women, and provides astute accounts of the workings of the cane sugar mills, the brutal living and working conditions of slaves, and the tensions involved in "managing" the slave population.
Lowell is a colorful storyteller who writes with fine precision and a critical eye, salting her narrative with gossip and a good dose of humor about her experiences throughout the trip. Her journals are filled with stories of arrogant Spanish men, shipwrecks, slave uprisings, business deals gone bad, and scandalous marriages.
This captivating travel diary brings to life Mary Gardner Lowell and her times, and it offers illuminating insights into class, race, and gender relations as well as the evolving relationship between the United States and Cuba in the antebellum period.
Customer Reviews:
Recounts the journey of a twenty-nine year old wife.......2003-11-15
Ably edited for a contemporary readership by Karen Robert, New Year In Cuba: Mary Gardner Lowell's Travel Diary, 1831-1832 recounts the journey of a twenty-nine year old wife, her young son, and her husband on a journey to the island nation of Cuba. Mary Gardner Lowell's astute observations are peppered with gossip, humor, criticism, scandal, and stories of arrogance and danger. New Year In Cuba is highly recommended as being an engaging and vivid transport through time and space in a yesteryear travelogue adventure.
Rare document, wonderful writer.......2003-05-01
I first read this journal in its original format: a handwritten, early-19th-century document now kept in the archives at the Massachusetts Historical Society. I loved it on the first reading--Lowell is an articulate, insightful writer who recorded this journey for her friends and family back home in Boston. (Just as we take snapshots of a trip, 19th-century travelers wrote journals.) Now we can all read it without making a trip to the research library in Boston.
A well-educated, well-read woman, Lowell drew on a wealth of knowledge and considerable skill as a writer, but she was also somewhat more irreverent than she should have been, according to the conventions of the time. She took note of the local gossip, the scandalous histories of some of her hosts, and the harsh treatment of slaves on the sugar plantations. It makes for an engrossing read.
Professor Robert's introduction provides the historical context for the journal, covering the Boston background as well as the Cuban information.
Average customer rating:
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Essays on Cuban Music: North American and Cuban Perspectives
Peter Manuel
Manufacturer: University Press of America
ProductGroup: Book
Binding: Hardcover
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ASIN: 0819184306 |
Book Description
The first book-length study on Cuban music in the English language. This volume consists of thirteen articles written by nine authors, including four Cuban scholars and five North American ethnomusicologists. The articles by Cuban scholars, translated from largely out-of-print publications, constitute a selection of some of the best Cuban research on their island's music, and present a set of perspectives which complement those of the North American authors. The articles cover such areas as descriptions of the Afro-Haitian derived tumba francesa, the traditional Afro-Cuban rumba, and the rural punto, as cultivated by peasants of Hispanic descent; aspects of the music bureaucracy in contemporary Cuba; the American music industry's dissemination of Cuban-derived salsa in New York City; Afro-Cuban cult music; the history and current status of charanga dance bands; and more.
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