49 pages • 1 hour read
Ana MenéndezA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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“Baseball Dreams” is divided into two parts. In the first, “THE BOY,” a first-person narrator, Mirta, describes a photo she has of her father as a 3-year-old boy and shares stories about his childhood. In the second, “THE GIRL,” a third-person narrator tells the story of Mirta waiting with her mother on a beach to meet her father, who never arrives.
In the first part, Mirta writes from Miami that as a child, her father loved the mountains and woke up early to watch the sunrise. He was illegitimate and not baptized. He hunted wild doves in the woods, “cursed his teachers” (79), and played children’s war games. Most of all, he longed to become a baseball player.
In 1935, he played his first informal game at the age of 9. Always a leader, Mirta’s father selected the biggest, fastest players and appointed himself pitcher. He walked the first batter but struck out the second. Three innings passed without a run, until the batter up before Mirta’s father hit a home run. Her father had wanted to be the first; instead, he struck out. When his team was about to lose the game, Mirta’s father started walking away and the other boys called him names. He punched the one who called him a coward, then left.
The narrator notes that baseball is no longer a popular game as it is “too slow, too tame, and too quiet for these times” (81), but for her father it provided structure, history, and family. She wishes “baseball had held him like a tender parent” because then he would have “come to see me on the beach that day” (83) and married her mother. The narrator longs for “a life of baseball rules” (83).
“THE GIRL” describes the day Mirta and her mother wait on the beach for her father. Mirta wears a white dress with a pink lace hem. Her mother has brought sandwiches. She warns Mirta that her father will not be able to stay long. Nearby, two boys, one significantly bigger than the other, toss a baseball with increasing ferocity. While the bigger boy takes the game as “merry sport” (85), the smaller boy becomes increasingly angry.
Mirta falls asleep and dreams she is a bird, flying over the sand, watching her mother gently stroke her arm. Shouting pulls Mirta out of sleep. The smaller boy is now pacing while the larger one lies unconscious in the sand, blood trickling from his nose. A crowd has gathered. A woman arrives, screaming, sobbing, and berating the Virgin Mary for allowing this to happen. The boy on the ground suddenly opens his eyes, and the crowd carries him off to one of the houses lining the beach.
Mirta and her mother pack up their belongings as the smaller boy walks away. Mirta’s mother tells Mirta that she can keep her father’s photo in her room. That night, she hears her mother speaking urgently into the phone. Mirta listens to the drone of planes flying overhead “as they waved forever good-bye to Havana” (87).
“The Last Rescue” takes place in a single night, during which Anselmo tosses and turns in bed, worried that his wife Meegan is having an affair with Mark, an American pilot.
Anselmo needs to sleep. In the morning, he will be flying rescue missions to look for Cuban rafters, who mostly no longer appear because the United States has stopped accepting them. He tries to empty his mind but struggles as he reflects on his relationship with Meegan. His father had warned him that an “Americana” (89) could never understand a Cuban man; she would expect him to do housework. Anselmo was surprised that Meegan did not, but he chooses to help. When his parents come over for dinner, however, he lets Meegan do the cleaning up alone.
Her deep sleep bothers him; he sees it as “a space that was hers alone” (89). That she never shares her dreams also frustrates him. Meegan wakes up complaining that she is hot, but Anselmo feels cold. She gets up to stand in front of the air conditioner. When she returns to bed, she snuggles against him.
Anselmo is used to men admiring his wife for her beauty but is alarmed by what he saw at a party the previous night: his wife sitting close to Mark and talking about the embargo against Cuba. Anselmo supports it, but Meegan believes it is time to “let it go” (92). Later, Mark revealed that he and Meegan plan to play tennis while Anselmo is on his flying mission. That Meegan never told Anselmo about these plans haunts him. He obsessively runs through every instance of Meegan mentioning Mark.
Anselmo gets out of bed to turn off the thermostat. Returning to bed, he tells himself that he is overreacting to Meegan’s conversation with Mark, but then continues obsessing about it. She wakes up, complains that it is hot, and gets up to check the thermostat. When she returns to bed, Anselmo thinks he will finally be able to sleep, but he feels a chill, “like fingers crawling up from his toes” (96).
He is afraid that Meegan will let him leave for his flying mission without mentioning her tennis date with Mark. He remembers a morning when his passion flared out of control, and he broke a glass and accused Meegan of not feeling anything. He wants her to respond passionately to his jealousy, but she remains placid. He is afraid that “something had broken and it was his fault and it would never be the same again” (99). He thinks of his father’s warning, “Two people rarely love each other equally” (99).
In this allegorical, magical realist story, a first-person female narrator describes her family in Miami and their “old uncle in Havana” (100). As a child, the old uncle ran “through the streets with a loaded gun, screaming, ‘National pie and friendliness!’” (101). The family keeps a scratched picture of him in a black closet. Her aunt Julia bites people. Her grandmother will only cook outside to ensure “the food spirits can escape” (100) and eats lunch from the bird feeder in the mango tree. Her grandfather has a radio growing out of his ear. The narrator’s mother tells her the family is cursed and haunted by the ghosts of the dead. Her grandmother poisons her mother’s coffee, so her mother grows an extra mouth, saying, “We have such deep love in this family” (103). Aunt Julia bites the mailman after he steals a letter from the old uncle, screaming, “Family is sacred!” (103).
The narrator brings a boy she likes home for dinner. He smiles and nods. Later, he tells her that perhaps the old uncle “wasn’t so bad,” adding, “Maybe the way your family tells it is wrong” (106). Perhaps he kicked out the family because they were “contagious or something” (106). The narrator imagines the old uncle “sad and alone in his big house” (106), sitting on the roof smoking a cigar. She wonders if he ever thinks of them.
At night, when he thinks the family is sleeping, the grandfather phones radio stations. One night, he tells a story about the old uncle. His problems stem from a family curse. Robbers broke into the family home and tried to steal jewelry and money, but the old uncle apprehended them. He shot them repeatedly, and then forbade anyone in the family from leaving. When they became hungry, the old uncle roasted the robbers’ bodies for food. After Aunt Julia was the first to eat, she cried for a month. After four years, the old uncle allowed anyone to leave, and the whole family left “through the back door, leaving everything behind” (105).
The narrator tells her grandfather that she has spoken with the old uncle. The family house is falling apart. He wears his old railroad company uniform, giving orders to the four walls during the day and shooting lame animals to help them because he “is the most tender of men” (106). Her grandfather grabs the narrator’s wrists and whispers, “Bastard!” (106).
That night, the narrator goes into the closet and speaks with the old uncle’s photo. She says, “Everyone is wrong” (107), including the boy who loves her. She and the old uncle agree that no curse exists; rather, “He is crazy because of us and we are crazy because of him” (107).
The narrator sits with her grandmother in the mango tree. Her grandmother says they will never be free of the old uncle, even when he is dead. The narrator nods, adding, “they say he is very sick” (108). The grandmother says the devil will take him. The narrator tells her grandmother about the sinkhole that she believes will consume everything. They will have to live underground, “each generation more blind than the last until a thick layer of skin covers our eyes” (108). The rest of the family gathers under the tree to scream up at the narrator and her grandmother. The grandmother’s eyes are closed, and the narrator cannot get her to open them.
These three stories address the potential torment associated with uncertainty and the way it can, for some characters, lead to obsession. “Baseball Dreams” explores uncertainty through a dual narrative, “The Last Rescue” through a romantic relationship in which a husband wonders whether his wife is having an affair, and “Miami Relatives” through a magical realist story that functions as an allegory about Cuban immigrants’ relationship to Castro. By placing these stories alongside each other, Menéndez moves from micro (personal relationships) to macro (relationships between individuals and the broader world).
Throughout the collection, Menéndez uses form to illuminate her themes. In “Baseball Dreams,” it is not so much the characters who experience uncertainty; rather, the narrative structure evokes uncertainty in readers. In order to determine the meaning and purpose of the first part of the story, readers must get to the second part. The identity of the unnamed boy in the story’s first part becomes clearer when Mirta’s narrative takes over in the story’s second part. The boy was her father, the one who never showed up at the beach on the day of the second part. The reason he did not show up is more fully revealed in a later story, “The Party.” Until then, readers must read between the lines to draw conclusions they should treat as mutable.
“The Last Rescue” revisits Anselmo, Matilde and Raúl’s son from “The Perfect Fruit,” who is now married to Meegan and afraid that she is having or going to have an affair. He tosses and turns all night, getting up from and returning to bed, complaining that he is cold as he obsessively replays events in his mind. His inability to sleep contrasts with Meegan’s deep sleep, which suggests an untroubled mind. Her deep sleep threatens him: He reads it as her lack of passion, which for him translates into a lack of caring. He sees her calm response to his jealous outbursts as further evidence of her lack of feeling for him. Their emotional disconnect reflects in part their cultural differences, and thus speaks more broadly to the struggle Cuban immigrants face acclimating to “American” mores.
“The Last Rescue” also questions the trustworthiness of its narrator, cultivating uncertainty in the reader. Perhaps Anselmo is correct in believing there is more to Meegan’s relationship that she has admitted. On the other hand, his emotional overreactions might mean that he is prone to hyperbole, and that he is reading too much into Meegan and Mark’s relationship. Still another possibility is that, as with the old uncle and the family in “Miami Relatives,” the central conflict results from their differences.
“Miami Relatives” explores the entrenched relationship between Cubans and Castro through the allegorical story of a family driven insane by its “old uncle in Havana” (100) who refuses to die. In this story, as in “The Last Rescue,” an unhealthy dynamic is reinforced as each party drives the other crazy because they cannot reconcile their different ways of being in the world. This, Menéndez suggests, can be as true in personal relationships as it is between citizens and their nations’ political regimes.