Vostok 6, she travelled thousands of miles into space, orbiting the earth forty-eight times. Key West is only ninety miles away.
She had built a wooden frame with stabilisers made from plastic containers lashed around a huge Russian tractor inner tube and had improvised an outboard motor from a Ukrainian lawnmower engine. Good old Soviet technology, she commented wryly. I thought of what Nemo had said about Narcís Monturiol. Lydia certainly planned her journey carefully. She had rations of water, bread and salted coffee to restore lost sodium. Her vessel carried an extra tyre and a pump, a flashlight and a compass; there was a canopy to shield her from the sun and to collect rainwater. I couldn’t bring myself to help her but I found it intolerable simply to stand there and watch. Before I knew what I was doing, I had started to fashion something from odd bits of junk that were strewn everywhere from the preparations of the balseros. I think Lydia noticed before I did that I was making a model of her raft. She smiled and shook her head slowly.
When other rafters and their onlookers noticed what I was doing, several of them asked me if I could do the same for them. I obliged, knowing instinctively that these miniatures could somehow be endowed with the power of a fetish, to give a necessary sense of luck to their originals. Where I didn’t have time to create objects, I hastily drew sketches or made notes, with the urgency that there might be some spiritual record of this hapless armada. I was astonished by the creative ingenuity of the balseros with their constructions of rubber, plywood, plastic and aluminium. Many of the rafts had been given names: Yemayá, La Esperanza, Tio B, Santa Maria, and so on. Lydia named hers Vostok 94 in honour of Valentina Tereshkova, with the bitter irony that acknowledged this would be her own first journey into outer space. Nemesio Carvajal and I watched her launch on the following dawn, her little spacecraft cresting the waves as it headed towards another world.
The Maximum Leader’s gamble worked: the Yankees could not cope with an increasing flood of refugees. In a matter of weeks the American president ended the automatic right of entry for Cubans picked up at sea (they were taken instead to the US Navy base in Guantánamo) and an annual quota of twenty thousand visas was agreed for those who wished to apply for legal migration. Since a criterion for applications was unlikely ever to be agreed between the two countries, this was to be done by lottery. The Cuban Coast Guard went back on duty and the sad and euphoric farewell parties on the beaches came to an end. To this day no one knows how many thousands died that summer. And we had no idea whether Lydia had made it or not.
I gave away some of my models of the rafts, but more often than not people wanted me to keep them with the others I had made, as part of a collection. Everyone staggered back to some kind of stability with a sense that there had been a ritual release of discontent, and that maybe we had gone through the worst of the Special Period. But it was a topsy-turvy world compared to the one I had grown up in. People now relied on the black market, hard currency sent by families abroad and the now growing tourist industry. Those who had once held important jobs found that they could make more money doing the most menial tasks in hotels and restaurants where they might get dollar tips.
Nemo Carvajal told me a joke that autumn that I did understand. Two Cuban men are sitting on a porch. I hear your daughter is seeing a waiter, says one. I’m afraid he’s only a doctor, the other replies.
Even the Maximum Leader seemed cast adrift, lost in space. Before, we were described as a satellite of the Soviet Union, he declared at a press conference. Today we could be described as a solitary star, like the star of our own flag with its own light, but nobody could say we were a satellite. Now we could be told that we are nostalgic.
And my own situation seemed ridiculous. I was hardly known in my own country, yet I was an artist with an international reputation. My work sold abroad for high prices, converted into a meagre peso allowance by the Cultural Property Fund.