Cuba in War Time — Background and Themes

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Davis, Richard Harding, 1864-1916 Project Gutenberg 2005 Not confirmed
Davis, Richard Harding, 1864-1916; Cuba -- History -- Revolution, 1895-1898 -- Personal narratives, American Readers of public-domain and historical texts
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Words 22,671
Reading time 99 min
Text sections 2

The source record for Cuba in War Time — Background and Themes measures this digital text at 22,671 words, 1 hr 39 min estimated reading time, and 2 detected text sections.

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Richard Harding Davis's 1897 dispatch from Cuba blends frontline reporting with a journalist's eye for detail, capturing the Spanish fortification strategy, the plight of pacificos, and the human cost of the revolution through vivid, often ironic vignettes.
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co was a little worse than the other towns, but I found that the condition of the people is about the same everywhere. Around every town and even around the forts outside of the towns, you will see from one hundred to five hundred of these palm huts, with the people crouched about them, covered with rags, starving, with no chance to obtain work.

In the city of Matanzas the huts have been built upon a hill, and so far neither small-pox nor yellow fever has made headway there; but there is nothing for these people to eat, either, and while I was there three babies died from plain, old-fashioned starvation and no other cause.

The government's report for the year just ended gives the number of deaths in three hospitals of Matanzas as three hundred and eighty for the year, which is an average of a little over one death a day. As a matter of fact, in the military hospital alone the soldiers during several months of last year died at the rate of sixteen a day. It seems hard that Spain should hold Cuba at such a sacrifice of her own people.

In Cardenas, one of the principal seaport towns of the island, I found the pacíficos lodged in huts at the back of the town and also in abandoned warehouses along the water front. The condition of these latter was so pitiable that it is difficult to describe it correctly and hope to be believed.

The warehouses are built on wooden posts about fifty feet from the water's edge. They were originally nearly as large in extent as Madison Square Garden, but the half of the roof of one has fallen in, carrying the flooring with it, and the adobe walls and one side of the sloping roof and the high wooden piles on which half of the floor once rested are all that remain.

Some time ago an unusually high tide swept in under one of these warehouses and left a pool of water a hundred yards long and as many wide, around the wooden posts, and it has remained there undisturbed. This pool is now covered a half-inch thick with green slime, colored blue and yellow, and with a damp fungus spread over the wooden posts and up the sides of the walls.

Over this sewage are now living three hundred women and children and a few men. The floor beneath them has rotted away, and the planks have broken and fallen into the pool, leaving big gaps, through which rise day and night deadly stenches and poisonous exhalations from the pool below.

The people above it are not ignorant of their situation. They know that they are living over a death-trap, but there is no other place for them. Bands of guerrillas and flying columns have driven them in like sheep to this city, and, with no money and no chance to obtain work, they have taken shelter in the only place that is left open to them.

With planks and blankets and bits of old sheet iron they have, for the sake of decency, put up barriers across these abandoned warehouses, and there they are now sitting on the floor or stretched on heaps of rags, gaunt and hollow-eyed. Outside, in the angles of the fallen walls, and among the refuse of the warehouses, they have built fireplaces, and, with the few pots and kettles they use in common, they cook what food the children can find or beg.

One gentleman of Cardenas told me that a hundred of these people called at his house every day for a bit of food.

Old negroes and little white children, some of them as beautiful, in spite of their rags, as any children I ever saw, act as providers for this hapless colony. They beg the food and gather the sticks and do the cooking. Inside the old women and young mothers sit on the rotten planks listless and silent, staring ahead of them at nothing.

Richard Harding Davis opens Cuba in War Time with a striking analogy: the island, eight hundred miles long, is "studded as thickly with these little forts as is the sole of a brogan with iron nails." This image sets the tone for a report that moves between strategic overview and close-up human moments. Davis, a Fellow of the Royal Geographic Society, traveled through four of Cuba's six provinces in 1896–97, interviewing soldiers, officers, and civilians. His narrative voice shifts from detached analysis to sharp, sometimes sardonic observation, as when he describes a Spanish colonel beating a seventeen-year-old soldier with his staff while the boy holds his salute. The excerpts reveal a writer attentive to absurdity and suffering alike.

Forts, Trochas, and the Logic of Stalemate

Davis repeatedly returns to the Spanish military's reliance on fortifications. He notes that the trocha—a fortified line across the island—is less a barrier than a symbol of a campaign that "may continue indefinitely." His description of the forts as "iron nails" suggests a static, defensive strategy. When he persuades a commandante to let him visit the trocha, he treats the pass from General Weyler as a bureaucratic joke: "as though Mayor Strong had given a man a permit to ride in all the cable cars." This wry tone undercuts the official narrative, hinting at the gap between Spanish authority and on-the-ground reality.

Voices from the Margins: The Cable Operator and the Conscript

Davis populates his account with minor figures whose stories reveal the war's human texture. The cable operator at Jucaro, isolated for twelve months, greets Davis as "the first white men I've seen since I came here." He passes time with Tit-Bits and Lloyd's Weekly Times, dreaming of Tottenham Court Road. Davis's portrait of the young Spanish conscripts—boys of seventeen who "do not care whether Spain owns an island eighty miles from the United States, or loses it"—underscores the gap between imperial ambition and individual sacrifice. The colonel's beating of a soldier who "stood with his eyes shut and with his lips pressed together" crystallizes the cruelty embedded in the campaign.

Pace and Perspective: From Panorama to Close-Up

Davis structures his narrative through abrupt shifts in scale. He moves from a bird's-eye view of the island's geography to a cramped room in Jucaro, where four men sleep on the floor and a candle burns. The arrival by open boat, drifting until dawn while the boatman and a mulatto boy argue about the town's location, creates a sense of disorientation. Later, he contrasts the cable operator's global awareness—reading signals from a "ray of light"—with his confinement to a village of "thirty huts." These juxtapositions give the report a restless energy, mirroring the journalist's own movement through a war that resists easy summary.

Davis never pretends to offer a complete picture. He acknowledges that his journey omitted Santiago and Pinar del Rio, and that his pass was a formality. Readers should approach Cuba in War Time as a series of dispatches shaped by the author's position—an American journalist with limited access, a sharp eye for detail, and a willingness to let contradictions stand. The book rewards attention to its offhand moments: the steward pointing out a light, the boy holding his salute, the cable operator laughing at his own isolation.

That afternoon, rain drummed the windows while Davis’s ironic vignettes of pacificos stayed with me—people caught between armies, their stories reduced to a reporter’s brief note. Later, the same quiet irony surfaced in Sword and Pen Ventures and Adventures of Willard Glazier — Text and Context, where adventure also brushes past suffering, the pen recording what the sword forgets.

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