Illustration (Part II)

Regina Cano

A book is also a marketable commodity, involving “X” number of people collaborating to bring it to sale.  In Cuba, however, the search for revenue has sometimes been only to sustain the State companies.

The book cover contracted for in this case had predominantly red and yellow colors, which — in terms of marketing —  was capable of attracting people at first glance.  The work stood out from among the usual range of gray tomes that stock the shelves of Cuban bookstores.

Getting beyond my ego, I have tried to highlight my own responsibility and to remain conscious of the fact that I affect the sustainability of our work, and therefore the wages of anyone actively involved in this case.  That’s how things work here.

But at least I claim the right to make the facts known for the many illustrators, relegated to the shadows by Cuba’s publishing houses, while also holding the aspiration that in the future we will not continue being in “no man’s land.”

Surprisingly to me, these companies do not differ from others with different corporate purposes inside Cuba.

With equally little motivation when carrying out their activities, they too assume responsibilities that on occasions they fail to achieve.  But since their status gives them power over the individual, they enjoy a certain degree of immunity.  Entering into a relationship with such a firm based on a contracted commitment isn’t enough in itself but requires persistence and much lost energy.

“Transdomination” — the theme of this book — covers different shades of existence, where disrespect of identity leaves you at the mercy of predators (apathetic or indifferent sloths) of which there might only be one or two, but who can always be found on the list of the participants in any project.