Favorite Quote: "When I returned home, my father sat me down and said that family is not a choice. They are our bones and our blood, our past and our future. 'It's not always good,' he told me, 'but it's always importance. Pain and love and laughter and anger go together."
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Review
This book is about the history of Cuba and what happened to those who ended up on the losing side. It is about the immigrant experience between Cuba and the United States. It is about Hollywood and the room it has for performers of a non-white ethnicity. It is about the fickle nature of fame and fortune. It is about abusive relationships. It is about atrocities wrought upon women and girls. It is about the relationship between mothers and daughters. It is about the relationship between sisters. It is about untenable and unforgivable choices. It is about survival. Trigger warning: The book depicts rape, abuse, and other violence against women and young girls.
Serena Burdick's book
The Girl with No Names told the history of the Magdalen laundries through the voices of the two young girls. This book follows a similar structure in that it tells this story through the voices of mother and daughter, Estelita and Nina.
At times, the story feels overdramatized. Then, I remind myself that although written as fiction, this book is based on a true story. Truth can be not only stranger than fiction but so often also more tragic than anything we can imagine. Prior to this book, I had never heard of Estelita Rodriguez or her sad and complicated life. Now, as her daughter intended, I will remember her life.
Estelita is nine years old when she first performs on stage as a singer in Havana. Her voice and her own mother's perseverance leads her from Cuba to New York to Hollywood. However, this book is not about that journey. It is about the beginning of that journey in Cuba and a return to that beginning place years later, coming face to face with who and what was left behind. It is about the decision on what comes next and the heart break that brings.
Nina is twelve at the time of most of the events depicted. She knows only America and life with her grandmother, her mother, and her mother's various husbands. Not all of them are kind to Nina. She forever feels that she is the afterthought (if that) in her mother's life. Yet, she never stops looking for her love and her attention. This combined with her mother's sudden death some years later that Nina, the adult, attempts to unravel in this story. Per the author's note, the book is written based on interviews with the real Nina. It would be fascinating to know how Estelita's portions were reconstructed, especially as this is such an intensely emotional story.
The one theme that emerges through both perspectives is the extent to which men controlled and determined the directions of the lives of these women - Estelita's husbands and their treatment of both her and Nina; Nina's father and his presumption of control over Nina; the soldiers in Cuba and the atrocities they bring upon Estelita's sisters and niece; and even Estelita's manager and mentors in the film industry who she relies on but who nevertheless drive so many of her actions. The force behind so much of what transpires is the men's decisions and actions.
A sad but memorable story.
About the Author
Serena Burdick graduated from The American Academy of Dramatic Arts in California before moving to New York City to pursue a degree in English Literature at Brooklyn College. Author of the International Bestseller THE GIRLS WITH NO NAMES and GIRL IN THE AFTERNOON, she lives in Western Massachusetts with her husband and two sons.
About the Book
A new historical novel from Serena Burdick, the author of THE GIRLS WITH NO NAMES, based on the true story of Estelita Rodriguez, a Cuban-born Hollywood actress and singer, as her daughter Nina traces her mother's life from Cuba to Hollywood to understand her mysterious death, think NEXT YEAR IN HAVANA meets THE SEVEN HUSBANDS OF EVELYN HUGO.
Cuba, 1936: When Estelita Rodriguez sings in a hazy Havana nightclub for the very first time, she is nine years old. From then on, that spotlight of adoration—from Havana to New York’s Copacabana and then Hollywood—becomes the one true accomplishment no one can take from her. Not the 1933 Cuban Revolution that drove her family into poverty. Not the revolving door of husbands and the fickle world of film. Not even the tragic devastation of Castro’s revolution that rained down on her loved ones.
Thirty years later, her young adult daughter, Nina Rodriguez, is blindsided by her mother’s mysterious, untimely death. Seeking answers no one else wants to hear, the grieving Nina navigates the troubling, opulent memories of their life together and discovers how much Estelita sacrificed to live the American dream on her own terms.
Based on true events and exclusive interviews with the real Nina Rodriguez, Find Me in Havana weaves two unforgettable voices into one extraordinary journey that explores the unbreakable bond between mother and child, and the ever-changing landscape of self-discovery.
Excerpt
Excerpted from Find Me in Havana by Serena Burdick, Copyright © 2021 by Serena Burdick. Published by Park Row Books.
One
Big Sur, 1966
CLIFFS
Mother,
In August, Big Sur crackles with drought. Grass dries to a crisp and turns gold as ember. Rattlers lay in wait. Fat insects purr, and banana slugs languish. The air is ripe with eucalyptus, their slender, green leaves blanketing the canyon paths. Poison oak claws the hillside. This is not the season of lemons trees or emerald hills or crisp sunshine. Summer on the coast is a season of bone-chilling fog.
Overlooking the Pacific, I stand on Nepenthe’s stone patio, the restaurant’s windows spilling light around me as I watch the gray mass of fog crawl and heave up the cliff. You would have liked it here, Mom, but we never drove up the coast together. We never had the chance. I close my eyes as the fog settles over me, damp and soft as a whisper. Below, the surf thunders against the rocks, and I feel the sway of the sea in my legs and picture myself stepping over the low stone wall and lifting my arms into the air. The ocean will catch me, release me, hollow out my body and wash it up on the shore like an empty shell.
I need a shell. Hard skin. A barrier against the world of missing you.
How is there no you left? No Mom. No Wife. No Movie Actress. No Singer. There are photographs, and moving pictures where you swing your hips and make funny faces, but I cannot touch or smell or feel or speak to this two-dimensional version.
I want an explanation.
Memories root and twist inside me, blossom, grow thorns, beautiful and gnarled, but the truth remains hidden, and I am left with the image of the bathroom floor and the weight of you in my arms.
I do not want this to be our last memory.
Opening my eyes, I take a deep breath, let the cool wetness lie over my tongue. Next to me, a fire crackles in the open hearth warming one side of my leg. I think how outdoor fires do this, warm only one side of you while the other side freezes. I wear a short skirt without pantyhose, white tennis shoes and a tight, knit sweater. The guests have all gone, the movie stars and bohemian artists, the former donning glitter and fur, the latter beads and loose-folding fabric, each hoping to authenticate themselves in originality. Each failing.
“Nina?” I jump at the sound of my manager’s voice. He stands in the open patio doorway of the restaurant polishing a wineglass. “Your ride is here.”
He looks at me kindly, unconcerned. He doesn’t know anything about me. I feel the warmth of the fire on my backside and think how cold it will be in the hollowed-out redwood tree where I sleep.
“I’ll just wipe down the tables,” I say, stalling. I don’t want to face my ride any more than I want to face the cold night on the forest floor with the insects.
My manager is a slender, vigorous man who looks as if he’s been breathing ocean air since birth. “It’s late,” he smiles. “You go on home now. I’ll take care of the tables.”
Walking away from the restaurant, the stone path slick with moisture, I dig my doll from the bottom of my bag and tuck her under one arm. She has a cloth body and a plastic head with blue eyes that open and close when you tilt her. Her plastic head is dotted with dark holes where her carefully arranged hair used to be. On her stomach is a scar—held together with a safety pin—from the time I cut her open and pulled out the stuffing.
Bret waits in his mint-green Volvo with the engine running. He is smoking a joint and doesn’t open the door for me. I slide into the passenger seat and he leans over and gives me a sloppy kiss, his hand pressed to the back of my head as if this is something romantic. His tongue tastes of stale smoke and alcohol. “Hey, baby,” he breathes into my face and passes me the joint. I take it, inhale and try to stifle a cough as Bret maneuvers the car onto the dark road.
We met five months ago when I first arrived in Big Sur. My friend Delia and I had eaten a handful of mushrooms and were dancing around a bonfire at a beach party when Bret slipped into the wavy, illuminated light of my vision. His embroidered shirt rippled over his chest and I thought he was something supernatural. The next morning when I woke up beside him on the beach, he’d turned solid. He was nothing more than a thin-chested man with a tangled beard and skinny legs sticking out from his cutoff jean shorts.
Bret hooks the car around a sharp bend, and the wheels kick up gravel that makes a sound like thunder under our feet.
“You’re going too fast,” I say, pressing my hand flat against the passenger window.
He grins and steps on the gas, a man who likes to challenge a woman. This is familiar to me. I watched men challenge you your whole life, each one of your four husbands, in their own way, pushing you to the edge. Despite your effort to understand them, to please them, it was, in the end, your unwillingness to be controlled or possessed that got you killed.
The car takes another corner, and the cliff drops to my right at a precarious angle where sumac and sagebrush cling to the edge. People love Highway 1 for its beauty. They think it cuts a benevolent path along the ocean cliff for our pleasure. What I see is a snake luring us with its curvaceous body, a thing of nature waiting for us to step on it so it can strike and fling us off.
I squish my doll’s head in, making her face look like something in a distorting mirror. “I don’t want to do this anymore,” I say, watching the doll’s features slowly inflate and pop back into place.
Bret’s profile remains neutral, his eyes on the road as he reaches over and strokes my thigh. “Don’t be like that, baby. This is good.”
I’ve tried to break up with him before. I don’t know why he won’t let me go, or how he can feel anything for me when I feel nothing inside. After your death, they sedated me because I was angry and didn’t behave properly. Now, I do what I can to sedate myself.
“I mean it. I’m done.” I shove his hand away, and this makes him angry.
He puts both hands on the wheel, grips it with white knuckles, his eyes forward, his jaw clenched. “What the fuck, Nina?” he says.
The headlights strike the road. Yellow lines blink past like winking eyes.
His anger scares me. “I’m sorry,” I say. I’m not good at this. Charming men. Giving them what they want. Doing what I watched you do, for the good ones and the bad. You appeased the good men, hoping they’d stay with you; placated the bad ones, hoping they wouldn’t hurt you. With each husband you tried a little harder, stayed a little longer, so certain you’d get it right.
If Bret is any indication, I won’t get it right, either. Looking at him, his hard profile reflected in the dashboard lights, his scruffy beard and long hair curling at the base of his neck, he reminds me of the rebel soldiers in Cuba.
This is not a memory I want. “Bret, I really can’t do this. Please, pull over. I need to get out.”
“You don’t know what you need.”
The arrogance in his voice disgusts me, the anger I’d been tamping down with drugs is now rising in my throat. For all his meditating and chanting and seeking enlightenment, Bret is a prick. I am twenty years old, you are dead, and there’s no one to tell me what to do anymore. You are not here to laugh it away, or tell me to chin-up, to silence me or put me in a mental institution or stick me in a boarding school. “Fuck you, Bret!” I shout. “Pull over. I want to get out.”
“Fuck me?” He speeds up, swerves the car near the shoulder of the road, gravel and dirt hitting my window and ricocheting off the glass like buckshot.
I suck in my breath and grip the door handle. “Don’t do that!”
“Do what? This?” He swerves again, and all I see, for a moment, is empty, black space.
What I should do is calm him down, convince him I’m sorry and that I won’t break up with him. Stop the car, and we’ll talk about it, I should say, but a part of me wants him to do something drastic. To pull the trigger for me.
We are crossing Bixby Bridge. The fog has receded, and I can see all the way down to the dark strip of beach where the waves crash and foam like a giant frothing at the mouth. I know, in that split second right before Bret takes us over the edge, that he’s going to do it. It’s not the plunge into water I’d imagined on the patio at Nepenthe. I am not sailing peacefully off the cliff with my arms out but trapped in a metal box that jerks to the right so abruptly my head smacks the window. I expect free fall, silence, stillness, but the air is sharp and compact and splintered with glass.
And then you are in my arms, your face flushed, your dark hair limp on your wet forehead, vomit ringing the corners of your mouth. “Help me,” I plead, even though you are the one dying. “Don’t go,” I cry. “I need you,” but I have already hit bottom, and the world has gone quiet.
