Cuba

Joe Boyd’s masterly history of what some of us still defiantly call World Music – more on which later – takes its title from Paul Simon’s ‘Under African Skies’, but is really less about the roots of rhythm than its routes. A typical chapter will start with a song from a particular geography, then wind the clock back to the country’s history, then forward again to show how that history has contributed to the development of its music, and finally move outwards, following the trade winds as they carry the sounds around the world. The Argentine singer Carlos Gardel urges the young Frank Sinatra to turn from crime to music Thus

From the eastern Atlantic, the US looks boringly uniform. Yet Alaska is almost as different from Alabama as Turku is from Turkey. If you travel the length of the Mississippi, food, laws, customs and lingo change as surprisingly as along the Danube. Particularism is rife. In two counties in Vermont, there are warrants for the arrest of George W. Bush. In some parts of the South, you must step across a county line to evade laws against alcohol. In Indiana, where I live, every county sets its own time zone and you have to keep adjusting your watch on your way to Chicago. In this land of anomalies, nowhere is

Nuclear weapons carry a payload of cold logic: if both sides have them, neither will ever use them. But in 1962, when the Soviet Union and US squared up to one another over Cuba, that logic broke down. As this superb new book shows, the Cuban Missile Crisis was the product of miscalculation, ignorance and staggering recklessness. The main culprit was Nikita Khrushchev. His first error was to mistake the US president for a callow weakling. ‘Don’t worry,’ he assured his Cuban friends, ‘I’ll grab Kennedy by the balls.’ After their first meeting, JFK remarked that negotiations with Khrushchev had been the ‘roughest thing in my life’. The argument concerned

Cuba meant a lot to Graham Greene. Behind his writing desk in his flat in Antibes he had a painting by the Cuban artist René Portocarrero, presented to him by Fidel Castro, who had signed his name on the back, so that Greene didn’t know which way to hang it. Another prize possession was a tatty Penguin copy of Our Man in Havana, kept together by Sellotape, which the Russian cosmonaut Georgy Grechko had read in outer space, and in which, while circumnavigating our planet, Grechko had underlined the places in Havana that he had visited. ‘I’ve been reading it all my life, both on earth and in space,’ he

One rainy evening in December 1948, a blue Buick emerged from the darkness of the Venetian lagoon near the village of Latisana and picked up an Italian girl — 18, jet black wet hair, slender legs — who had been waiting for hours at the crossroads. In the car, on his way to a duck shoot, was Ernest Hemingway — round puffy face, protruding stomach and, at 49, without having published a novel in a decade, somewhat past his sell-by. He apologised for being late, and offered the rain-sodden girl a shot of whisky which, being teetotal, she refused. So did Papa, that ‘beat-up, old-looking bastard’, encounter the siren he

Cuba’s gorgeous, crumbling capital has always been a testing ground for writers. That heady combination of revolution, cocktails, sex and unpainted mansions seems somehow to set literary pulses racing. Trollope, Hemingway and Graham Greene all described it with verve, but there’s also plenty of dross. The city certainly charmed me, and, a few years ago, I thought I’d add to the pulp with my own contribution. I started courting London’s Cubans, and even had the ambassador to lunch. But despite some intriguing gossip (e.g. that Che Guevara was no fun at parties, and utterly deadpan), I abandoned the whole idea. It seemed to me that Havana was about to change

On 27 May 1939, the German liner St Louis docked in Havana with 937 passengers on board: all but a handful of them were Jews in flight from the Third Reich. After a dismal farrago of diplomatic obstruction, bare-faced corruption among local officials and the incitement by Nazi propaganda of anti-Semitic prejudice ‘even’ (as Leonardo Padura sorrowfully puts it) ‘among the open and happy Cubans’, only a score of refugees could disembark. The US refused entry to the rest. Their ship of despair sailed back to Europe. Around this shaming episode, the genial gadfly of Cuban literature has built a digressive, eccentric but deeply absorbing novel: part-detective story, part-historical enquiry,

‘Short of writing a thesis in many volumes,’ Patrick Leigh Fermor wrote in his preface to The Traveller’s Tree, ‘only a haphazard, almost a picaresque, approach can suggest the peculiar mood and tempo of the Caribbean and the turbulent past from which they spring.’ Island People, Joshua Jelly-Schapiro’s first book, is an academic picaresque. This unlikely hybrid might be the ideal vehicle for a trip around the ‘American lake’; the Caribbean’s cultures and peoples are also hybrids, legacies of unlikely crossings. The masters, slaves, indentured labourers and merchant middlemen of the Caribbean were the first truly modern societies, drawn and dragged to a hellish paradise solely to serve a global