Cubop City Blues by Pablo Medina

By Pablo Medina

Poet and novelist Pablo Medina’s Cubop City fuses uncooked, passionate language and chic lyricism to respire existence right into a musically-disguised big apple urban formed via jazz masters, refugees, and storytellers.

Our advisor into Cubop urban is The Storyteller, born approximately blind and shrouded in his mother’s guilt. He’s homeschooled inside of his parents’ crumbling house with a eu housekeeper, and trained via Encyclopedia Britannica, The Bible, and Arabian Nights. while he's twenty-five, his dad and mom are either clinically determined with melanoma, and The Storyteller on my own is left to take care of them. He does so through telling them tales conceived from the prolific interpreting that allowed his mind's eye to flourish regardless of little touch with the surface world.

Through his tales—full of magic, sorrow, longing, love—Cubop urban surges colorfully to existence. relocating via myriad issues of view, The Storyteller imagines an international populated by way of either famous figures like Chano Pozo and Jelly Roll Morton, and invented characters, so much significantly a mustachioed guy who's stabbed by means of a stranger and embarks on a novel-long look for his attacker.

Molded within the cadence of Afro-Cuban jazz, Cubop City is a symphonic portrait of a bustling city panorama and the intimate lives that supply a urban its voice.

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Sample text

She stands, damp hair just washed cascading down her back, Streaking the clouds on this spring night with beauty. Spring! And from a shadow comes a voice Bestowing on the night the gift of song. The spirit of the aronias that must be Which on this moonlit night has ventured forth. The song now flows, now gently ebbs away, Wandering through the springtime ’neath the moon. There she stands so utterly alone, And beaten Spring draws slowly to its close. As I read these lines through, I became sleepy and began to doze.

I should still have to discipline myself more before I could say with any confidence that I was a poet or an artist. I remember hearing once that long ago an Italian painter named Salvador Rosa was so set on study­ ing the ways of robbers that he risked his life by joining a band of mountain brigands. It was a shameful thing if I, having wandered off suddenly from home with just a sketchbook tucked inside my kimono, did not have the same amount of resolution. How, I wondered, could you regain a poetical frame of mind at times like this?

It was no good, I just could not sleep. I lay there listen­ ing to the tick-tick-tick-tick of the watch under my pillow. 1 A light-weight kim ono, som etimes used to sleep in. ’ Confound it! Even something frightening may appear poetic if you stand back and regard it simply as a shape, and the eerie may make an excellent picture if you think of it as some­ thing which is completely independent of yourself. Exactly the same is true with disappointed love. Providing that you can divorce yourself from the pain of a broken heart and, conjuring up before you the tenderness, the sympathy, the despair and yes, even the very excess of pain itself, can view them objectively, then you have aesthetic, artistic material.

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