Five From the Finca
Spring 2025 Five from the finca
Good day, everyone.
My name is Massiel Pita, and it is a pleasure to share with you today the profound influence that Cuba, particularly Finca Vigía, had on the life and work of Ernest Hemingway. As a proud Cuban, I have a personal connection to this iconic place. My first visit to Finca Vigía was in August 1998 when I was just seven years old. That visit left a lasting impression on me, one I still carry with me to this day. What stood out most vividly were the vast number of books and the many animal heads displayed throughout the house. Interestingly, the only room free of books was the dining room, a bright and airy space that reflects a blend of influences. The furniture, designed by Martha Gellhorn, featured unique cross-legged or scissor-shaped tables, along with stools that harmonized beautifully with the earthenware tile flooring—a design that evokes a strong connection to Spain.
Hemingway’s deep appreciation for Spanish culture is vividly reflected throughout Finca Vigía. This is particularly evident in the presence of several works of art depicting bullfighting scenes, such as Roberto Domingo’s "La Cogida" and Joan Miró’s "La Masía". Adding to this Spanish influence is a wicker bull's head, a traditional Spanish craft gifted to Hemingway by his close friend, the renowned bullfighter Antonio Ordóñez (El Niño de la Palma). The connection to Spain extends beyond the artwork. In Hemingway’s workroom, you will find a bullfighter’s cape, and in the living room, there are striking 18th-century candelabras originally from a church in Extremadura. These elements collectively highlight Hemingway’s admiration for Spain and its rich cultural heritage, woven seamlessly into the fabric of his Cuban home.
Finca Vigía is located southwest of central Havana, in the town of San Francisco de Paula. The house was originally built in the late 19th century by Catalan architect Miguel Pascual y Baguer, who resided there from 1887 until 1903. Afterward, ownership passed to a Cuban named Victoriano, who sold the property in 1916 to Frenchman Joseph D’Orn Duchamp. Duchamp primarily rented out the estate, and in May 1939, it was leased to Ernest Hemingway and his wife, Martha Gellhorn.Martha discovered the rental listing in the classified section of a local newspaper while searching for a peaceful retreat where they could write and find happiness. It was not until December 1940 that the Hemingways purchased the property outright, using funds from Paramount Pictures, which had bought the film rights to Hemingway’s novel, For Whom the Bell Tolls.
This historic residence became an enduring sanctuary for Hemingway, providing the solitude and inspiration that shaped much of his work.
For twenty-one years, Ernest Hemingway, already one of the most celebrated figures in world literature, filled Finca Vigía with objects that reflected his life and passions. Today, the house holds the largest collection of Hemingway’s personal belongings, including over 9,000 books, hunting trophies, paintings, and other memorabilia. Among these treasures, one item stands out above all: his iconic yacht, the Pilar.
The Pilar, located behind the Dog Cemetery, is one of the museum’s most valuable artifacts and was deeply cherished by Hemingway himself. Gregorio Fuentes, the yacht’s captain, proudly recalled, "I had it shining like gold." After Hemingway’s death, the Pilar was inherited by Gregorio, who kept it in Cojímar until he gifted it to the museum, where it remains a centerpiece.
The Pilar also played a significant role in Hemingway’s wartime efforts. In 1942, the yacht was outfitted for anti-submarine operations in Cuban waters, disguised as part of a scientific expedition. With a crew of nine, Hemingway patrolled the Romano Keys north of Cuba, searching for German submarines. Although no submarines were intercepted, this mission underscored Hemingway’s staunch anti-fascist stance.
These experiences later found their way into Hemingway’s novel Islands in the Stream, where the protagonist, Thomas Hudson, embarks on a similar quest to track down the crew of a German submarine in the Camagüey region. Through both his actions and his writing, Hemingway’s life and art continued to intertwine seamlessly.
At Finca Vigía, Ernest Hemingway produced much of his most significant creative work, including The Old Man and the Sea, A Garden of Eden, Islands in the Stream, A Moveable Feast, and Across the River and Into the Trees. His efforts at the Finca were recognized globally: in 1953, he won the Pulitzer Prize for The Old Man and the Sea, and in 1954, he was awarded the Nobel Prize in Literature for his lifetime achievements.
Hemingway’s writing routine was disciplined and immersive. Standing on the skin of a kudu—an antelope hunted by his wife, Mary, in Africa in 1953—he began his day at 6:00 a.m., writing until 1:00 or 2:00 p.m. He dressed casually in shorts and slippers and leaned over a wooden tablet, drafting his dialogues by hand with a pencil before transferring them to his Royal typewriter, which rested atop the book Who’s Who.
Hemingway valued absolute silence during his writing hours. According to his butler, René Villarreal, not a sound was allowed in the house while he worked. His writing room was a private sanctuary, often strewn with books, magazines, and papers on the bed. In front of a second bookshelf stands a wooden walking stick, which Hemingway used during his strolls around the Finca, always accompanied by his dog, Black.
This meticulous routine and the tranquil surroundings of Finca Vigía provided the foundation for Hemingway’s literary legacy.
Many writers with homes scattered across the globe are often asked which they consider their true residence. Most answer that it is the house where their books reside. For Ernest Hemingway, Finca Vigía held this distinction.
In a 1949 article, Hemingway attempted to explain why he lived there for so many years. His response was characteristically vivid, though meandering and at times contradictory. He mentioned the cool, caressing morning breeze on hot days and the joy of raising fighting roosters. He described the lizards inhabiting the trees, the 18 varieties of mangoes growing in his yard, and the proximity of a sports club down the road where pigeon shooting competitions took place.
Above all, Hemingway emphasized the allure of the Gulf Stream, just a 45-minute drive from his home. There, he experienced what he described as the best and most plentiful fishing of his life, a passion that deeply influenced both his leisure time and his literary pursuits.
For Hemingway, Finca Vigía was not just a house; it was a haven where nature, culture, and creativity seamlessly intertwined.
"You live on this island," Hemingway wrote, "because in the cool of the morning you work better and more comfortably than anywhere else." These words reflect his deep connection to Cuba, where the tranquil mornings provided an ideal environment for his writing. However, these years in Cuba remain among the least known of Hemingway’s life. Not only were they his most intimate years, but also his biographers have often passed over them with what some consider a suspicious brevity.
As Norberto Fuentes notes in Hemingway in Cuba, these years were pivotal yet enigmatic, revealing a side of the writer that is less often explored. His time at Finca Vigía, while marked by creative productivity and personal reflection, is a chapter in Hemingway's life that is sometimes overshadowed by his more public achievements and controversies.
Finca Vigía is a true reflection of Ernest Hemingway's lifestyle. Not only was he a dedicated reader, but he was also an avid collector. The house is home to more than 9,000 books, including magazines and pamphlets, a testament to his intellectual curiosity. Among these, over 2,000 books bear Hemingway’s annotations, revealing his habit of deeply studying and analyzing the works he read.
The house also showcases his love for hunting, with numerous specimens adorning the walls. Notable among them are antelope, Grant’s gazelles, oryx, and the Kafre buffalo from The Short Happy Life of Francis Macomber. The house even features the kudu from his work Green Hills of Africa, further emphasizing the profound impact that his hunting experiences had on both his life and writing.
Each room of Finca Vigía offers a glimpse into Hemingway’s passions, from literature to hunting, showcasing the complexity of a man whose interests were as vast as the world he explored.
The influence of bullfighting is also strongly reflected in the furnishings of Finca Vigía, as Hemingway viewed bullfighting not merely as an adventure but as a form of art. This is evident in the collection of bull posters he acquired from the Spanish painter Roberto Domingo. These posters, purchased in the 1930s and brought to Finca Vigía in 1939, belong to a unique artistic movement in Spain known as Cartelismo. The defining feature of this style is that the painting was created by the artist, while the letters were printed separately.
In addition to the bullfighting memorabilia, the house preserves personal items that reflect Hemingway’s other passions. In the closet next to his office desk, you can find his war correspondent uniform, which he wore during World War II, along with his hunting boots, hats, and other personal items.
Among the collection are also two biographies of Hemingway, written by author Phil Jones and published during Hemingway's lifetime. Hemingway, however, rejected these works, as he disliked their portrayal. One biography resides in the library, while the other is kept in the Military Library on the second floor of La Torre.
In the dining room, next to the table, you can find napkins emblazoned with the family emblem, which represents the three hills of San Francisco de Paula—or, alternatively, the Three Hills of Paris: Montparnasse, Montmartre, and St. Genevieve. The emblem also includes an arrowhead, symbolizing the North American Native American tribes, especially the Ojibwa tribe, with whom Hemingway spent part of his childhood. Additionally, the emblem features the ranks acquired by Mary, Ernest, and John (Bumby), highlighting the family's shared experiences.
Although Hemingway left Cuba on July 25, 1960, he always held the belief that he could return one day, reflecting the deep connection he felt with both the island and the life he built there.
Hemingway's profound connection to Cuba is clearly reflected in the fact that he left behind many of his most personal and valuable objects when he departed the island. His time in Cuba was not only an essential part of his life, but also deeply influenced his literary work. The Cuban landscapes, locations, and characters provided the setting for several of his major works.
Hemingway’s first reference to Cuba appears in his inaugural collaboration with the magazine Esquire, in the fall of 1933, in an article titled "Marlin off the Morro: A Cuban Letter." Cuba continues to be a significant presence in his later works, including To Have and Have Not, Islands in the Stream, and, perhaps most notably, The Old Man and the Sea.
The Old Man and the Sea stands out as a concise, transcendent, and profoundly suggestive narrative, in which Hemingway clearly reaffirms his faith in the human condition. The protagonist, Santiago, symbolizes the relentless struggle of human effort and courage. His battle against the swordfish in the vast sea represents a poignant metaphor for humanity’s fight against the forces of nature. Unlike the desperate, flawed characters of his earlier works, who were often defined by their vices—alcohol, sex, and violence—Santiago embodies a more enduring and purposeful spirit. In his struggle, Hemingway moved beyond the themes of desperation and surrender, focusing instead on the strength and resilience of the human spirit. Through Santiago's journey, Hemingway redefined the nature of human perseverance and hope, highlighting a more redemptive vision of the human struggle.
In Hemingway’s later works, particularly The Old Man and the Sea, there is a deep recognition of the limitations of human beings in their struggle against the outside world. Yet, in this recognition lies a powerful, philosophical resignation: the only true justification for the struggle is the ability to persevere and continue striving for victory. This core principle becomes the foundation of Hemingway’s final message—never giving up. It is the act of trying until the very end, of not saving efforts or surrendering, that defines the true victory.
In Santiago's fight with the swordfish, even though the fish is ultimately consumed by sharks, there is a victory in defeat. The very act of bringing back the remains of the swordfish symbolizes the value of the struggle itself. As Hemingway famously wrote, "A man can be destroyed but not defeated."
This sentiment marks a shift in Hemingway’s worldview, where characters no longer resort to desperation or seek escape through false values like alcohol, sex, or violence—themes that often defined the characters in his earlier works. Instead, The Old Man and the Sea suggests that true strength lies in the ability to endure, no matter the outcome. The novel reflects a more mature, philosophical perspective on life, where the importance is not in victory itself but in the dignity of the fight, and the perseverance to keep going, regardless of the odds.
Summer 2020 Five from the finca
1)When did the Finca reopen to visitors and how long was it closed for?
“The Finca closed on March 20th and reopened on July 13th.”
***Since the interview, the Finca has again closed as Havana has stepped back a phase in the reopening plan.
2)Is the Finca open for international visitors currently?
“No, because international visitors are not allowed on the island yet.”
3) Given the situation with COVID, are many people visiting the Finca?
“There is very little attendance at the Finca or in the community in general.”
(Our interviewee from the Finca is seen in the image to the left)
4)In the images you sent, scholars appear to be cataloging. Can you tell us more about this?
“They are working on the collections in Hemingway’s house by making an inventory of each piece that exists in the collections.”
5) 2020 has brought about the cancelation of many in-person Hemingway events. How has the virus affected plans for the rest of 2020 for the Finca?
“For the moment, all plans are postponed.”
Spring Five from the finca
Due to COVID-19, there is only one Five From the Finca interview for the spring. In this interview, Massiel Pita discusses the Spanish Art found at the Finca Vigia. Feel free to reach out with any questions you would like to see answered in the next interview.
1)How many pieces of Spanish paintings are located in the Finca?
In the hall of the house there are two Cartels of taurine topics and one painting called “La Cogida” by the artist Roberto Domingo.
In the room of the library there is one Cartel [poster] called “Toros en San Sebastián” by Roberto Domingo, too.
(More information on Roberto Domingo can be found on the following website:
http://robertodomingo.com/en/)
In the dining room is a copy of “La Masia” by Joan Miro.
2)What can you tell us about Hemingway’s history with the Spanish paintings he collected?
Those Cartels and “La Cogida” were bought by Hemingway during the decade of the 1930s. One of which was used as a cover for the book Death in the Afternoon in 1932.
3)Are there any other forms of Spanish artwork located at the Finca currently?
In the hall there are two candlesticks of the Church of the Extremadura.
4)You mentioned in a previous interview that there was an event coming for Gigi’s Allstars in December. What can you tell us about how that went? Do you have any pictures?
Sorry, I don’t have any pictures of that day. The children came with ball equipment and played a game. After that, Brian Gordon Sinclair collected with the children and the workers of the museum in front of Hemingway’s house.
5)What upcoming events at the Finca are you excited about?
I believe the next Colloquium must be the most emotional event upcoming.
***Information on the 2021 Colloquium is forthcoming
The importance of the Finca Vigia and Cuba in the life of Ernest Hemingway cannot be overstated. Unfortunately, due to the difficulties between the United States and the Cuban government, the connection between Hemingway and Cuba is not studied as in depth and as often as this portion of Hemingway’s life deserves.
This new column on the FHS website, Five From the Finca, will feature five short questions in order to open up another door of communication between the Finca and Hemingway scholars, aficionados, and fans. In this our first column the questions will be introductory in nature, and from there we will continue a conversation that we hope will be unending.
1). Could you please introduce yourself and give us a brief bio? How long have you been working at the Finca?
My name is Massiel Pita. I studied History in the University of Havana and I [have worked at the] Finca Vigia since September 3, 2018.
2). For those who have not been there, could you give us a description of the Finca Vigia?
The property is located on top of the hill in San Francisco de Paula town, near Havana City and has a territorial extension of 43,000m2. Into the property is the museum house, the garage, the bungalow and El Pilar yacht.
3). Can you explain a little bit about the importance of the Finca Vigia in Hemingway’s life?
La Vigia was important in Hemingway’s life because in this place the writer found peace and wrote books such as The Old Man and the Sea.
4). Which works did Hemingway write while at the Finca Vigia?
At the Finca Vigia he finished For Whom the Bell Tolls and he wrote Across the River and into the Trees, The Old Man and the Sea, A Moveable Feast and Islands in the Stream.
5). What are you most proud of having accomplished at the Finca so far this year?
The big accomplishment this year was the 17th International Colloquium “Ernest Hemingway.”
As we move forward, feel free to email in any questions you would like to know about the Finca and Hemingway’s life in Cuba.
November/December Five from the finca
1) Can you tell us about the statue recently dedicated on the grounds of the Finca this month?
“The bust of Hemingway was sculpted by the Swedish artist Johan Falkman. In Johan Falkman’s bust of Hemingway we find the great writer, the man and the broken man. And this representation of Hemingway’s face is mounted on a rock shipped to Cuba from Sweden.”
2) What can you share about the ceremony?
“The ceremony was carried out in front of the house. It was raining the whole morning, but the sculpture was discovered in the presence of a great number of people.”
3) Who was in attendance?
“In the ceremony was present workers of the museum, people of the Consejo Nacional de Patrimonio Cultural, Swedish guests, Tomas Wiklund: ambassador of Sweden in Cuba, Björn Cronstedt: cultural aggregate of the Swedish embassy in Cuba, Dan and Chistin Olofsson: the patrons and Johan Falkman: the artist.”
4) What connection did Hemingway have with the Swedish Embassy of Cuba or the country of Sweden?
“Hemingway could not travel to Sweden for the Nobel Prize ceremony. Therefore, the Swedish envoy Carl-Herbert Borgenstierna had the honour of delivering the prize at Finca Vigía in San Francisco de Paula, Havana, where the writer was recovering after two airplane accidents. The award ceremony was quickly completed. By the way, the lunch that Hemingway celebrated with the Cojimar's anglers when he received the prize in the gardens of Cerveceria ‘La Modelo’ was in my town: El Cotorro.”
5) Are there other statues or items on the grounds of the Finca that have been donated from countries other than Cuba and the United States?
“In the Finca there is a sculpture by the italian artist Renzo Orvieto( 1922- 1999), it's in the office of the director.”
Thank you Massiel Pita for informing us on this beautiful ceremony. More images have been loaded onto the Florida Hemingway Society Facebook page.
September Five from the finca
1.) We had a question sent in regarding the art Hemingway collected in the Finca. I’d like to answer this one room by room. Could you tell readers about the art in this room [picture can be seen to the left].
There are many interesting things in this room such as foreign bills and coins, black and white pictures, a reproduction of Paul Klee’s Monument Under Construction [Monument in Arbeit, the original was bought by Hemingway in Berlin], and one white arms collection (this collection was a gift from Wacamba and Massai African tribes).
2.) In this same room, which animals are hanging on the walls? Can you give any background information on the animals?
In this same room we can find Kafri buffalo; it was hunted by Hemingway in Africa in 1933. In “The Short Happy Life of Francis Macomber” Hemingway describes the hunt of this animal. We also find a blue antelope (a white bearded male) hunted in 1954 during a second safari.
3.) What is the most interesting object in this same room?
From my point of view, the most interesting object in this room is the head of the Kafri buffalo.
4.) Hemingway left behind a large record collection in the Finca. What are the highlights of this music collection? Were any of them left out by Hemingway when he left?
Hemingway left behind around 900 records in the Finca. In this collection we may highlight some jazz records such as Louis Armstrong, Cuban music such as Rita Montaner, Bola de Neive, Ernesto Lecuna, Spanish popular music and classical music.
5.) What projects are planned for the Finca in what remains of 2019?
There is a celebration that takes place in December every year in the Finca dedicated to “Estrellas de Gigi” team [Gigi’s Allstars] organized by Brian Gordon Sinclair in Hemingway’s memory.
October Five From the Finca
Five from the Finca-October 2019
For this month’s interview, Massiel Pita from the Finca Vigia will be discussing some of the interesting items Hemingway left in his home. Next month we will be discussing the Spanish artwork in Hemingway’s house. Feel free to reach out with questions you may have about Hemingway and the Finca Vigia.
1)Hemingway had an interesting collection of swords at the Finca. What can you tell us about these swords?
“Those swords are part of a one white arms collection that belonged to the writer. It is 13 knifes, belt and batons. The knifes are for work such as: behead animals or for ceremonies.”
2)The desk in the image below is covered in items Hemingway collected and stored some value in. Raul Villarreal once said that Hemingway kept items because they stored memories for him, and he never knew if he would need the items to help remind him of ideas he could use in a story. Perhaps, then, these items had some value for him. Can you pick a few of these items and tell us about them?
“ On the desk: fascist flag and saved trophy of his participation as correspondent of war and soldier in different bellicoses conflicts; one collection of objects of animals carved in wood, bought for the Hemingways to artist of Machaco, Oriental Africa; the key of the city of Matanzas, this was delivered to Hemingway for the Cuban poeticize Carilda Oliver Labra. We also find a tray of in form wood of fish, flood of stones and other objects, that Hemingway considered of ‘good luck’. He was a superstition man.”
3)In the third image there is a beautiful piece of artwork. What can you tell us about this artwork and its meaning to Hemingway
“The painting that appears in the image is a reproduction of the work the Juan Gris: ‘El Torero’.”
4)In the same image there is a circular frame, can you explain the items in the frame or anything about their history/connection with Hemingway?
“The circular frame is ‘La Batea Mexicana’ , is a species of done handicraft of wood. This was bought by Hemingway on one of the travels that the writer carried out to Mexico.”
5)This month is the first in a great season of holidays in American culture. What can you tell us about Hemingway’s interactions with Cuban holidays? Do you know how he celebrated Cuban or American holidays while at the Finca?
“Hemingway celebrated in the Finca: Thanksgiving, Christmas Eve, New Year's Eve,etc. Because in the period in which Hemingway lived in our country celebrate the same holidays that the took place in USA.”