Secret Ingredients (41 page)

Juan laughed when I said I was going. I asked what it had been like on the day Castro’s people took the restaurant away, and he said, “I was working that day, and two guys came in. With briefcases. They said they were running the restaurant now. They wanted the keys to the safe, and then they gave me a receipt for the cash and said they’d call me. They didn’t call.”

Was he shocked?

“About them taking the restaurant? No. Not really. It was like dying. You know it’s going to happen to you eventually—you just don’t know exactly what day.”

One night at dinner, I tried to persuade Jauretsi, Juan’s youngest daughter, to go with me, and she said, “It would be a scandal, the daughter of Centro Vasco going to Cuba. Seriously, a scandal. No way.” I was eating
zarzuela de mariscos,
a thick seafood stew, with Jauretsi, Totty, and Sara Ruiz, a friend of mine who left Cuba fifteen years ago. Juan came over to our table for a moment, between seating guests. All the tables were full now, and grave-faced, gray-haired, black-vested waiters were crashing through the kitchen doors backward, bearing their big trays. Five guys at the table beside us were eating paella and talking on cellular phones; a father was celebrating his son’s having passed the bar exam; a thirtyish man was murmuring to his date. In the next room, the Capos’s anniversary party was under way. There was a cake in the foyer depicting the anniversary couple in frosting—a huge sheet cake, as flat as a flounder except for the sugary mounds of the woman’s bust and the man’s frosting cigar. The guests were the next generation, whose fathers had been at the Bay of Pigs and who had never seen Cuba themselves. The women had fashionable haircuts and were carrying black quilted handbags with bright gold chains. The young men swarmed together in the hall, getting party favors—fat cigars, rolled by a silent man whose hands were mottled and tobacco-stained.

“If you go to Havana, see if the food is any good now,” Juan said to me. “I heard that there is only one dish on the menu each night,” Totty said.

Sara, my émigré friend, said she used to go to Centro Vasco all the time after Castro took it over. Now she was eating a bowl of
caldo Gallego,
which she said she had hankered for ever since the Saizarbitorias’s restaurant was taken away. “In the Havana Centro Vasco, the food isn’t good anymore,” she said. “It’s no good. It’s all changed.” You have to pay for the food in United States dollars, not Cuban pesos, she said, but you don’t have to leave a tip, because doing so is considered counter-revolutionary.

The Basque boy is still there, in Havana. His white shirt is now the color of lemonade, though, because after the revolution the murals on the walls of Centro Vasco were covered with a layer of yellowish varnish to preserve the old paint.

My waiter in Havana remembered Juanito. “He left on a Thursday,” the waiter said. “He told me about it on a Wednesday. I was at the restaurant working that day.” I was at Centro Vasco, sitting at a huge round table with a Cuban friend of Sara’s, eating the
caldo Gallego
that made everybody so homesick, but, just as I’d been warned, it wasn’t the same. The waiter whispered, “We need a Basque in the kitchen, but we don’t have any Basques left,” and then he took the soup away. The restaurant looks exactly like Juanito’s model—a barnlike Moorish-style building, with an atrium entryway. The government has had it for thirty-five years now and has left it just as Juanito left it, with a fish tank and a waterfall in the foyer, and, inside, thronelike brown chairs, and cool tile floors, and the murals—Basques playing jai alai and rowing sculls and hoisting boulders and herding sheep—wrapping the room. As I had been told, business is done in dollars. People with dollars in Cuba are either tourists or Cubans who have some business on the black market or abroad. When my new Cuban friend and I came in, a Bruce Willis movie was blaring from the television in the bar. At a table on one side of ours, a lone Nicaraguan businessman with clunky black eyeglasses was poking his spoon into a flan, and at the table on our other side a family of eight were singing and knocking their wine goblets together to celebrate the arrival of one of them from Miami that very day.

I myself had been in Havana for two days. On the first, I went to the old Centro Vasco, where Juanito had started: not the place where he had moved the restaurant when it became prosperous, the one he’d built a model of to hang over the Miami bar, but the original one—a wedge-shaped white building on the wide road that runs along Havana’s waterfront. The wedge building had been Havana’s Basque center—the
centro Vasco
—and it had had jai-alai courts and lodgings and a dining room, and Juanito, the pretend world-famous jai-alai player, had started his cooking career by making meals for the Basques who came.

That was years ago now, and the place is not the same. My new friend drove me there, and we parked and walked along the building’s long, blank eastern side. It was once an elegant, filigreed building. Now its ivory paint was peeling off in big, plate-size pieces, exposing one or two or three other colors of paint. Near the door, I saw something on the sidewalk that looked like a soggy paper bag. Close up, I saw that it was a puddle of brown blood and a goat’s head, with a white striped muzzle and tiny, pearly teeth. My friend gasped, and said that it was probably a Santería ritual offering, common in the countryside but hardly ever seen on a city street. We looked at it for a moment. A few cars muttered by. I felt a little woozy. The heat was pressing on my head like a foot on a gas pedal, and the goat was pretty well cooked.

Inside the building, there were burst-open bags of cement mix, two-by-fours, bricks, rubble. An old barber chair. A fat, friendly, shirtless man shoring up a doorway. On the wall beside him were a mural of Castro wearing a big hat and, above that, a scene from the first day of the revolution, showing Castro and his comrades wading ashore from a cabin cruiser. This room had been the old Centro Vasco’s kitchen, and its dining room had been upstairs. Now the whole building is a commissary, where food is prepared and is then sent on to a thousand people working for the government’s Construction Ministry.

After a minute, a subdirector in the Ministry stepped through the rubble—a big, bearish man with shaggy blond hair and an angelic face. He said the workers’ lunch today had been fish with tomato sauce, bologna, boiled bananas, and rice and black beans. He wanted us to come upstairs to see where the old Centro Vasco dining room had been, and as we made our way there he told us that it had been divided into a room for his office and a room where the workers’ gloves are made and their shoes are repaired. He had eaten there when it was the old Centro Vasco, he added. It had had a great view, and now, standing at his desk, we could see the swooping edge of the Gulf of Mexico, the hulking crenellated Morro Castle, the narrow neck of the Bay of Havana, the wide coastal road, the orange-haired hookers who loll on the low gray breakwater, and then acres and acres of smooth blue water shining like chrome in the afternoon light. The prettiness of the sight made us all quiet, and then the subdirector said he had heard that some Spanish investors were thinking of buying the building and turning it back into a restaurant. “It’s a pity the way it is now,” he said. “It was a wonderful place.”

That night, my friend and I ate dinner at a
paladar,
a kind of private café that Cubans are now permitted to own and operate, provided that it has no more than twelve chairs and four tables and is in their home. This one was in a narrow house in Old Havana, and the kitchen was the kitchen of the house, and the tables and the chairs were set in the middle of the living room. The owner was a stained-glass artist by trade, and he sat on a sofa near our table and chatted while we ate. He said that he loved the restaurant business, and that he and his wife were doing so well that they could hardly wait until the government permitted more chairs, because they were ready to buy them.

I went back to Centro Vasco one more time before leaving Cuba—not the old place, in the wedge building, but the new, Moorish one, in a section of Havana called Vedado, which is now a jumble of houses and ugly new hotels but for decades had been a military installation. I wanted to go once more to be sure I’d remember it, because I didn’t know if I’d ever be back again. I went with my new friend and her husband, who was sentimental about the restaurant in the Vedado, because during the revolution he had fought just down the street from it. While he was driving us to Centro Vasco, he pointed to where he’d been stationed, saying, “Right—here! Oh, it was wonderful! I was preparing a wonderful catapult mechanism to launch hand grenades.” In front of the restaurant someone had parked a milky-white 1957 Ford Fairlane, and some little boys were horsing around near it. On the sidewalk, four men were playing dominoes at a bowlegged table, and the
clack, clack
of the tiles sounded like the tapping of footsteps on the street. The same apologetic waiter was in the dining room, and he brought us plates of
gambas a la plancha
and
pollo frito con mojo criollo
and
tortilla Centro Vasco.
The restaurant was nearly empty. The manager came and stood proudly by our table, and so did the busboys and the other waiters and a heavy woman in a kitchen uniform who had been folding a huge stack of napkins while watching us eat. Toward the end of the meal, someone came in and warned us that our car was going to be lifted and carried away. I thought he meant that it was being stolen, but he meant that it was being relocated: Castro would be driving by soon, and, because he was worried about car bombs, he became nervous if he saw cars parked on the street.

As we were leaving, the waiter stopped us at the door. He had a glossy eight-by-ten he wanted to show me—a glamorous-looking photograph of Juan Jr.’s wedding. He said that it was his favorite keepsake. The Saizarbitorias had left nearly everything behind when they left Cuba. Juan was allowed to take only a little bit of money and three changes of clothes. In Miami, Juan’s daughter Mirentxu had remarked to me on how strange it was to have so few family mementos and scrapbooks and pictures—it was almost as if the past had never taken place. I admired the wedding picture for a minute. Then the waiter and I talked a little about old Juanito. I couldn’t tell whether the waiter knew that Juanito had died, so I didn’t say anything. Meanwhile, he told me that a friend of his had once sent him a napkin from Centro Vasco in Miami, and he had saved it. He said, “I’ve had so many feelings over these years, but I never imagined that Juanito would never come back.”

There had been one other Centro Vasco, but it wasn’t possible for me to visit it. It had been the first Centro Vasco that Juanito opened in the United States, on the corner of Ponce de Leon and Douglas Road, in a building that straddled the border between Miami and Coral Gables—a place that might have been satisfactory except that the two cities had different liquor laws. If you wanted a drink, you had to be sure to get a table on the Miami side. The border had come to be too much trouble, so Juanito moved to Southwest Eighth Street, and eventually the old building was torn down.

But I did go back to the Centro Vasco on Southwest Eighth one more time after I came back from Cuba. It was a Saturday night, and it was busy: people were coming for dinner and to hear Malena Burke sing. I wanted to tell the Saizarbitorias about my trip, to tell them that the Basque boy was still there and that the food wasn’t very good, but that the restaurant was just as they had left it and, in spite of the thirty-three years that had passed, was still in fine shape. Then I realized that I didn’t know whether they would be glad or sorry about what I would tell them. In Havana, everyone I met talked constantly about the future, about what might happen when the United States lifted its embargo and when Castro retired, both of which events they expected soon. To the people I met in Cuba, the present seemed provisional and the past nearly forgotten, and their yearning was keen—charged with anticipation. In Miami, the present moment is satisfying, and thought is given to the future, but the past seems like the richest place—frequently visited, and as familiar and real and comforting as an old family home.

The music wasn’t to start until after midnight, so for a long time I stood in the foyer and watched people parade in: the executive of a Latin American television network, in a tight white suit and high white shoes; an editor from a Spanish soap-opera magazine; a Puerto Rican singer who had just performed at Dade County Auditorium, followed by her entourage; another singer, named Franco, who called out to someone while he and I were talking, “Hey, man, you look great! I thought you were dead!” and dozens of good-looking couples speaking in bubbly Spanish, and all wearing something that glistened or sparkled or had a satiny shine. Toward midnight, Sherman Hemsley, of
The Jeffersons,
came in with a television producer, and Iñaki wrote “Cherman Jemsli Del Show Los Jeffersons” on a little slip of paper for Malena, so that when she pointed him out in the audience she’d know what to say.