Cover image for Book Club kit : Next year in Havana
Book Club kit : Next year in Havana
First edition.
Publication Information:
New York : Berkley, 2018.
Physical Description:
9 bks. (x, 382 pages) ; 21 cm + 1 discussion guide
"After the death of her beloved grandmother, a Cuban-American woman travels to Havana, where she discovers the roots of her identity--and unearths a family secret hidden since the revolution... Havana, 1958. The daughter of a sugar baron, nineteen-year-old Elisa Perez is part of Cuba's high society, where she is largely sheltered from the country's growing political unrest--until she embarks on a clandestine affair with a passionate revolutionary... Miami, 2017. Freelance writer Marisol Ferrera grew up hearing romantic stories of Cuba from her late grandmother Elisa, who was forced to flee with her family during the revolution. Elisa's last wish was for Marisol to scatter her ashes in the country of her birth. Arriving in Havana, Marisol comes face-to-face with the contrast of Cuba's tropical, timeless beauty and its perilous political climate. When more family history comes to light and Marisol finds herself attracted to a man with secrets of his own, she'll need the lessons of her grandmother's past tohelp her understand the true meaning of courage--and what it means to be Cuban"-- Provided by publisher.


Material Type
Shelf Number
Item Notes

On Order

Prescott Public Library10Received on 10/3/18



Havana, 1958. The daughter of a sugar baron, nineteen-year-old Elisa Perez is part of Cuba's high society, where she is largely sheltered from the country's growing political unrest--until she embarks on a clandestine affair with a passionate revolutionary . . .

Miami, 2017. Freelance writer Marisol Ferrera grew up hearing romantic stories of Cuba from her late grandmother Elisa, who was forced to flee with her family during the revolution. Elisa's last wish was for Marisol to scatter her ashes in the country of her birth.

Arriving in Havana, Marisol comes face-to-face with the contrast of Cuba's tropical, timeless beauty and its perilous political climate. When more family history comes to light and Marisol finds herself attracted to a man with secrets of his own, she'll need the lessons of her grandmother's past to help her understand the true meaning of courage.

Reviews 3

Kirkus Review

"My grandmother loved a revolutionary," says Marisol Ferrera, returning to Cuba 60 years after her family fled the island only to find herself falling for another attractive rebel.Romance readers who enjoy their love stories leavened with a sizable measure of earnest political history will warm to Cleeton's (On Broken Wings, 2017, etc.) new novel, which offers parallel tales of entwined hearts challenged by oppressive regimes. Elisa Perez, one of the four "sugar queens"the privileged daughters of a Cuban sugar baronis the first star-crossed lover. Living in luxury in Havana in the late 1950s, Elisa and her sisters are shielded from the imminent revolution by their father's money and allegiance to the status quo, but then Elisa falls for Pablo, "Fidel [Castro]'s eyes and ears in the city." In the 21st century, Florida-based lifestyle journalist Marisol smuggles her grandmother's ashes back to Cuba, obeying Elisa's wishes to be reunited in death with the country from which she had been exiled. Once in Havana, Marisol discovers not only her family's roots and the letters revealing Elisa and Pablo's secret passion, but also her own emotional fulfillment in the form of Luis, the grandson of Elisa's best friend. Cleeton delivers the two women's descents into dangerous romance with persuasive intensity, but her descriptions of Pablo's and Luis' commitments to challenging the political establishment and her larger commentary on Cuba's long, troubled history make for a heavy contrast. "Why is the Cuban convertible peso so important?" asks Marisol, setting the reader up for another solid slab of social/historical/financial exposition. Somber and humor-free, the novel feels uncomfortably strung between its twin missions to entertain and to teach detailed, repetitive factual lessons.A love story and an homage to the history of the Cuban people, the latter significantly overshadowing the former. Copyright Kirkus Reviews, used with permission.

Booklist Review

Contemporary romance author Cleeton (On Broken Wings, 2017) has taken a detour through her own family history to produce a luscious novel that will please romance, historical, and women's fiction readers alike. It's 1959 at the Havana airport, and the four Perez sisters are leaving for Miami, unsure of when they'll return perhaps next year? Cleeton follows Elisa, the third daughter of a powerful sugar baron. Fast-forward almost 60 years to meet Elisa's granddaughter, Marisol, arriving at that same airport to scatter Elisa's ashes. Parallel tales of passion and romance crash against rigid family expectations, wartime violence, and political barriers. These two women, pampered Elisa and independent Marisol, tell their stories of star-crossed love with genuine emotional intensity. Cleeton's almost guidebook-style descriptions contrast revolutionary era with contemporary Havana, avoiding facile dichotomies for a touching portrayal of a fractured people. With Reader's Guide Discussion Questions and a preview chapter from Cleeton's next novel, which will feature Elisa's sister, firebrand Beatriz, this book launches a very appealing and promising series.--Martinez, Sara Copyright 2018 Booklist

Library Journal Review

In 1959 Havana, as Fidel Castro claims absolute power, the sugar-rich Perez family's vast wealth marks them as targets, necessitating their escape to Miami, FL. So 19-year-old Elisa Perez leaves Cuba with her three sisters and their parents. Almost 60 years later, Marisol Ferrara arrives in Cuba bearing Elisa's ashes in fulfillment of her grandmother's final wish to return home. Elisa's childhood best friend Ana-who still lives next door to the former Perez mansion-warmly welcomes Marisol to Havana, presenting her with Elisa's box of long-buried secrets, prompting an inevitable collision of past and present. Frankie Maria Corzo imbues Elisa with steely determination, even as her family faces destruction, and even death. Kyla Garcia relies on her notably adjustable range to channel seamlessly Marisol's tenacious quest and vulnerable discoveries. Alternating between Elisa's truncated affair with a revolutionary comrade and Marisol's search to understand her family's forcibly abandoned heritage, romance novelist -Cleeton (On Broken Wings) alchemizes her own family's Cuban exodus into historical fiction. VERDICT Despite occasional plot missteps-overwrought history lessons embedded as clumsy dialog, Marisol's implausibly fast-tracked romance-internationally savvy readers will appreciate exploring enigmatic Cuba, then and now, with a Cuban American insider as engaging guide. ["An for lovers of historical fiction and soul-searching journeys": LJ 12/17 starred review of the Berkley hc.]-Terry Hong, -Smithsonian BookDragon, Washington, DC © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



Chapter One Elisa Havana, 1959  How long will we be gone?" my sister Maria asks. "Awhile," I answer. "Two months? Six months? A year? Two?" "Quiet." I nudge her forward, my gaze darting around the departure area of Rancho-Boyeros Airport to see if anyone has overheard her question. We stand in a row, the famous-or infamous, depending on who you ask-Perez sisters. Isabel leads the way, the eldest of the group. She doesn't speak, her gaze trained on her fiancZ, Alberto. His face is pale as he watches us, as we march out of the city we once brought to its knees. Beatriz is next. When she walks, the hem of her finest dress swinging against her calves, the pale blue fabric adorned with lace, it's as though the entire airport holds its collective breath. She's the beauty in the family and she knows it. I trail behind her, the knees beneath my skirts quivering, each step a weighty effort. And then there's Maria, the last of the sugar queens. At thirteen, Maria's too young to understand the need to keep her voice low, is able to disregard the soldiers standing in green uniforms, guns slung over their shoulders and perched in their eager hands. She knows the danger those uniforms bring, but not as well as the rest of us do. We haven't been able to remove the grief that has swept our family in its unrelenting curl, but we've done our best to shield her from the barbarity we've endured. She hasn't heard the cries of the prisoners held in cages like animals in La Caba-a, the prison now run by that Argentine monster. She hasn't watched Cuban blood spill on the ground. But our father has. He turns and silences her with a look, one he rarely employs yet is supremely effective. For most of our lives, he's left the care of his daughters to our mother and our nanny, Magda, too busy running his sugar company and playing politics. But these are extraordinary times, the stakes higher than any we've ever faced. There is nothing Fidel would love more than to make an example of Emilio Perez and his family-the quintessential image of everything his revolution seeks to destroy. We're not the wealthiest family in Cuba, or the most powerful one, but the close relationship between my father and the former president is impossible to ignore. Even the careless words of a thirteen-year-old girl can prove deadly in this climate. Maria falls silent. Our mother walks beside our father, her head held high. She insisted we wear our finest dresses today, hats and gloves, brushed our hair until it gleamed. It wouldn't do for her daughters to look anything but their best, even in exile. Defiant in defeat. We might not have fought in the mountains, haven't held weapons in our glove-covered hands, but there is a battle in all of us. One Fidel has ignited like a flame that will never be extinguished. And so we walk toward the gate in our favorite dresses, Cuban pride and pragmatism on full display. It's our way of taking the gowns with us, even if they're missing the jewels that normally adorn them. What remains of our jewelry is buried in the backyard of our home. For when we return. To be Cuban is to be proud-it is both our greatest gift and our biggest curse. We serve no kings, bow no heads, bear our troubles on our backs as though they are nothing at all. There is an art to this, you see. An art to appearing as though everything is effortless, that your world is a gilded one, when the reality is that your knees beneath your silk gown buckle from the weight of it all. We are silk and lace, and beneath them we are steel. We try to preserve the fiction that this is merely a vacation, a short trip abroad, but the gazes following us around the airport know better- Beatriz's fingers wrap around mine for one blissful moment. Those olive green-clad sentries watch our every move. There's something reassuring in her fear, in that crack in the facade. I don't let go. The world as we know it has died, and I do not recognize the one that has taken its place. A sense of hopelessness overpowers the departure area. You see it in the eyes of the men and women waiting to board the plane, in the tired set of their shoulders, the shock etched across their faces, their possessions clutched in their hands. It's present in the somber children, their laughter extinguished by the miasma that has overtaken all of us. This used to be a happy place. We would welcome our father when he returned from a business trip, sat in these same seats three years earlier, full of excitement to travel to New York on vacation. We take our seats, huddling together, Beatriz on one side of me, Maria on the other. Isabel sits apart from us, her pain a mantle around her shoulders. There are different degrees of loss here, the weight of what we leave behind inescapable. My parents sit with their fingers intertwined, one of the rare displays of physical affection I've ever seen them partake in, worry in their eyes, grief in their hearts. How long will we be gone? When will we return? Which version of Cuba will greet us when we do? We've been here for hours now, the seconds creeping by with interminable slowness. My dress itches, a thin line of sweat running down my neck. Nausea rolls around in my stomach, an acrid taste in my mouth. "I'm going to be sick," I murmur to Beatriz. She squeezes my fingers. "No, you're not. We're almost there." I beat the nausea back, staring down at the ground in front of me. The weight of the stares is pointed and sharp, and at the same time, it's as if we exist in a vacuum. The sound has been sucked from the room save for the occasional rustle of clothing, the stray sob. We exist in a state of purgatory, waiting, waiting- "Now boarding . . ." My father rises from his seat on creaky limbs; he's aged years in the nearly two months since President Batista fled the country, since the winds of revolution drifted from the Sierra Maestra to our corner of the island. Emilio Perez was once revered as one of the wealthiest and most powerful men in Cuba; now there's little to distinguish my father from the man sitting across the aisle, from the gentleman lining up at the gate. We're all citizens of no country now, all orphans of circumstance. I reach out and take Maria's hand with my spare one. She's silent, as though reality has finally sunk in. We all are. We walk in a line, somber and reticent, making our way onto the tarmac. There's no breeze in the air today, the heat overpowering as we shuffle forward, the sun beating down on our backs, the plane looming in front of us. I can't do this. I can't leave. I can't stay. Beatriz pulls me forward, a line of Perez girls, and I continue on. We board the plane in an awkward shuffle, the silence cracking and splintering as hushed voices give way to louder ones, a cacophony of tears filling the cabin. Wails. Now that we've escaped the departure area, the veneer of civility is stripped away to something unvarnished and raw- Mourning. I take a seat next to the window, peering out the tiny glass, hoping for a better view than that of the airport terminal, hoping . . . We roll back from the gate with a jolt and lurch, silence descending in the cabin. In a flash, it's New Year's Eve again and I'm standing in the ballroom of my parents' friends' house, a glass of champagne in one hand. I'm laughing, my heart so full. There's fear lingering in the background, both fear and uncertainty, but there's also a sense of hope. In minutes, my entire world changed. President Batista has fled the country! Long live a free Cuba! Is this freedom? We're gaining speed now, hurtling down the runway. My body heaves with the movement, and I lose the battle, grabbing the bag in the seat pocket in front of me, emptying the contents of my stomach. Beatriz strokes my back as I hunch over, as the wheels leave the ground, as we soar into the sky. The nausea hits me again and again, an ignominious parting gift, and when I finally look up, a startling shock of blue and green greets me, an artist's palette beneath me. When Christopher Columbus arrived in Cuba, he described it as the most beautiful land human eyes had ever seen. And it is. But there's more beyond the sea, the mountains, the clear sky. There's so much more that we leave behind us. How long will we be gone? A year? Two? Ojal++. Marisol january 2017 When I was younger, I begged my grandmother to tell me about Cuba. It was a mythical island, contained in my heart, entirely drawn from the version of Cuba she created in exile in Miami and the stories she shared with me. I was caught between two lands-two iterations of myself-the one I inhabited in my body and the one I lived in my dreams. We'd sit in the living room of my grandparents' sprawling house in Coral Gables, and she'd show me old photos that had been smuggled out of the country by intrepid family members, weaving tales about her life in Havana, the adventures of her siblings, painting a portrait of a land that existed in my imagination. Her stories smelled of gardenias and jasmine, tasted of plantains and mamey, and always, the sound of her old record player. Each time she'd finish her tale she'd smile and promise I would see it myself one day, that we'd return in grand style, reopening her family's seaside estate in Varadero and the elegant home that took up nearly the entire block of a tree-lined street in Havana. When Fidel dies, we'll return. You'll see. And finally, after nearly sixty years of keeping Cubans in suspense, of false alarms and hoaxes, he did die, outlasting my grandmother by mere months. The night he died, my family opened a bottle of champagne my great-grandfather had bought nearly sixty years ago for such an occasion, toasting Castro's demise in our inimitable fashion. The champagne, sadly, like Fidel himself, was past its prime, but we partied on Calle Ocho in Miami until the sun rose, and still- Still we remain. His death did not erase nearly sixty years of exile, or ensure a future of freedom. Instead I'm smuggling my grandmother's ashes inside my suitcase, concealed as jars in my makeup case, honoring her last request to me while we pray, hope, wait for things to change. When I die, take me back to Cuba. Spread my ashes over the land I love. You'll know where. And now sitting on the plane somewhere between Mexico City and Havana, armed with a notebook filled with scribbled street names and places to visit, a guidebook I purchased off the Internet, I have no clue where to lay her to rest. They read my grandmother's will six months ago, thirty family members seated in a conference room in our attorney's office on Brickell. Her sisters were there-Beatriz and Maria. Isabel passed away the year before. Their children came with their spouses and their children, the next generations paying their respects. Then there was my father-her only child-my two sisters, and me. The main parts of her will were fairly straightforward, no major surprises to be expected. My grandfather had died over two decades earlier and turned the family sugar business over to my father to run. There was the house in Palm Beach, which went to my sister Daniela. The farm in Wellington and the horses were left to my sister Lucia, the middle child. And I ended up with the house in Coral Gables, the site of so many imaginary trips to Cuba. There were monetary bequests, and artwork, lists upon lists of items read by the attorney in a matter-of-fact tone, his announcements met with the occasional tear or exclamation of gratitude. And then there was her final wish- Grandparents aren't supposed to play favorites, but my grandmother never played by anyone else's rules. Maybe it was the fact that I came into the world two months before my mother caught my father in bed with a rubber heiress. Lucia and Daniela had years of family unity before the Great Divorce, and after that, they had a bond with my mother I never quite achieved. My early years were logged between strategy sessions at the lawyers' offices, shuttled back and forth between homes, until finally my mother washed her hands of it all and went back to Spain, leaving me under the care of my grandmother. So perhaps because I was the daughter she never had, yet raised as her own, it made sense that she charged me with this- No one in the family questioned it. From her sisters, I received a list of addresses-including the Perez estate in Havana and the beach house no one had seen in over fifty years. They put me in contact with Ana Rodriguez, my grandmother's childhood best friend. Despite the passage of time, she'd been gracious enough to offer to host me for the week I'd be in Cuba. Perhaps she could shed some light on my grandmother's final resting place. You always wanted to see Cuba, and it's my greatest regret that we were unable to do so in my lifetime. I am consoled, at least, by the image of you strolling along the Malec--n, the spray of salt water on your face. I imagine you kneeling in the pews of the Cathedral of Havana, sitting at a table at the Tropicana. Did I ever tell you about the night we snuck out and went to the club? I always dreamed Fidel would die before me, that I would return home. But now my dream is a different one. I am an old woman, and I have come to accept that I will never see Cuba again. But you will. To be in exile is to have the things you love most in the world-the air you breathe, the earth you walk upon-taken from you. They exist on the other side of a wall-there and not-unaltered by time and circumstance, preserved in a perfect memory in a land of dreams. My Cuba is gone, the Cuba I gave to you over the years swept away by the winds of revolution. It's time for you to discover your own Cuba. Excerpted from Next Year in Havana by Chanel Cleeton All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.