Did you know Cuba has a Capitol in Havana that closely resembles its American counterpart? Edel Rodriguez does, and that’s one more reason why he, a Cuban American political cartoonist, was so disturbed by what happened in his adopted homeland on January 6.
Rodriguez grew up in the shadow of a different sort of insurgency, the revolution that swept Fidel Castro to power in January 1959. He knew what it was like for a people to lose their freedoms under a dictatorship, and he knew the resulting desire to seek liberty, which he and his family did in the Mariel boatlift in 1980. So after 2016, when Donald Trump won the White House, uncomfortable memories from the not-so-distant past began to surface, never more so than on 6 January 2021.
Now, Rodriguez has put it all down in a graphic-novel memoir, Worm: A Cuban-American Odyssey.
“I don’t think most Americans realize what a coup is, or a coup attempt, how dangerous it is,” he says.
In Worm, compelling artwork revisits January 6 and its immediate aftermath, when barbed wire surrounded the US Capitol and the national guard patrolled. Red-and-black images juxtapose Castro’s revolutionary soldiers, fists and rifles raised, with the QAnon Shaman and an American flag at half-staff.
Ask Rodriguez which panels he is most proud of and he holds up a pair of two-page spreads. One, at the beginning of the narrative, depicts the Cuban revolution, Castro’s bearded army storming Havana atop tanks, that familiar-looking Capitol in the background. A panel found near the end of the memoir, meanwhile, shows the US Capitol rioters charging the seat of Congress, wearing Maga caps and brandishing multiple flags: American, Confederate, “Back-the-Blue” pro-police. The images are inverses of each other, the crowds marching in opposite directions.
“It really does go to what I’m trying to say – two sides of the same coin,” Rodriguez says.
“When it was back in 2015, and Trump appeared on the scene, my ears perked up. He would call people ‘scum’. In Cuba, Castro called his enemies ‘scum’. The press was the ‘enemy of the people’. These were the kind of words Castro would use.”
Rodriguez’s depictions of Trump are now famous, making the covers of Time and Der Spiegel. The most striking is up for debate. Is it Trump’s face as a melting blob, which MSNBC likened to the Wicked Witch of the West? Trump holding a bloody knife in one hand and the severed head of the Statue of Liberty in the other, inspired by a picture of an Islamic State terrorist? Trump draped in an American flag, giving the Nazi salute?
“I think he brought a certain kind of extremism to politics in America,” Rodriguez says. “I felt that it needed to be addressed … I’m just not a fan of extremism of any sort.
“The best way to deal with problems,” he says, is to hold democratic elections, and if your candidate doesn’t win, to try again in the next go-round. What he’s seen far too often instead is the authoritarian alternative of “men with guns – communists in Cuba, the Maga crowd in the US, or Isis”.
In Worm, Rodriguez examines his first-hand experiences with dictatorship. In cold war Cuba, he lived an hour away from the capital, in the small town of El Gabriel. Although he remembers being far more tuned in to nature there than in the US, he also describes being indoctrinated in school, from the red beret he wore to the Castro personality cult that was instilled by teachers. His parents lived in fear that his father’s entrepreneurial streak might get them in trouble, including neighborhood snoops who put their curiosity to the use of the Communist party.
A tip-off alerted Rodriguez’s father to stepped-up scrutiny, accelerating the decision to leave. The Mariel boatlift made things easier in some ways, harder in others, as Rodriguez now explains in Worm, which unfolds memories of tense exit negotiations with authorities; a state of limbo in a tent city; and the miraculous day when a rescue vessel came. For the Rodriguez family, it was a shrimp boat called Nature Boy. Castro released prisoners to join the exodus to America, some of whom packed the boat. It and a convoy of other vessels made it to US shores.
As Cubans willingly left their homeland, Castro insulted them with a choice barb, the “worm” of the book’s title.
“It’s what they would call us, being underground, taking from the system,” Rodriguez says.
In Spanish, it’s gusano, which the author considered for a title.
after newsletter promotion
“Of course, gusano has, to me, a much more guttural sound,” he says. “I wanted it to translate for an English-speaking audience.”
Decades later – after studying at the Pratt Institute, getting a big break at Time, marrying and raising a family and even going back to Cuba to see family and friends – Rodriguez felt familiar enough with authoritarianism in his birthplace to speak out against it in his new home. That desire increased over the course of Trump’s 2016 campaign and ensuing four years in power. The verbal attack on a Muslim Gold Star family … the Access Hollywood tape … the Muslim ban … it’s all there, and so are Rodriguez’s graphic-art ripostes. He gives Trump a distinctive look: yellow hair, orange skin, no eyes or nose, just a wide-open mouth.
Rodriguez has found approval – and backlash. He realized just how big the backlash had grown when he fielded a sympathetic audience question about his safety after giving a lecture in another country with a troubled history.
“I was surprised when the man in Germany asked what was going to happen to me when I returned to America,” he says. “I did not think about it, I did not process it. It was sort of like telling a writer or an artist, ‘What’s going to happen to you if you do your work?’ … What else am I going to do with my life?”
Noting that “some of my family questioned what I was doing, very close family members, including my mother,” he adds: “I don’t really think about people’s perceptions of my work as a stumbling block that will get me in trouble or go to jail. It’s hard enough being an artist.”
Rodriguez will keep making waves with his art, even if it is now tinged with a sense of betrayal and loss, from an American dream that became a nightmare.
“I think January 6 really did puncture a lot of what America means to people – not just myself, but many people in the world,” he says. “The US is the place you go to hope and dream. To see the US Congress get attacked, like some country in some other part of the world that has been attacked, like the parliament in Moscow getting attacked in the 1990s – to feel that shock, to see that in the US … I’m very sad, very disappointed.
“At the same time, I’m very scared. I don’t think Americans have processed how messed up Trump is, if you consider the same candidate could come back. The most recent polls have him ahead.”
Worm is published in the US by Metropolitan Books
Source: US Politics - theguardian.com
