
198 CHE GUEVARA
capable of feeling deeply whatever injustice is committed against
anyone in any part of the world. This is the fi nest quality of a revo-
lutionary. (Deutschmann 1997:349)
Part of his legacy is his children. With his fi rst wife, Hilda Gadea, he
had a daughter, Hilda Beatriz Guevara Gadea, born February 15, 1956,
in Mexico City (she died of cancer August 21, 1995, in Havana, Cuba, at
the age of 39). With his second wife, Aleida March, he had four chil-
dren: Aleida Guevara March, born November 24, 1960, in Havana;
Camilo Guevara March, born May 20, 1962, in Havana; Celia Guevara
March, born June 14, 1963, in Havana; and Ernesto Guevara March,
born February 24, 1965, in Havana.
His daughter Aleida is a medical doctor and an important Cuban po-
litical fi gure in her own right. She represents the family at most public
functions. His sons Camilo and Ernesto are lawyers, and his daughter
Celia is a veterinarian and marine biologist who works with dolphins
and sea lions. Among them they have eight children, Che’s grandchil-
dren. It is also rumored Che had another child from an alleged extra-
marital relationship with Lilia Rosa López, and this child is supposedly
Omar Pérez, born in Havana March 19, 1964 (Castañeda 1998:264 – 65).
For a regime that wishes to instill a revolutionary socialist and in-
ternationalist consciousness in its young, there is no better example
than Che. His revolutionary ideals and personal example have become
part of the social consciousness of several generations of Cubans. And
he remains the Cuban model for the 21st-century socialist—“the new
human being who is to be glimpsed on the horizon,” which he wrote
about in his now famous essay “Socialism and Man” (1965).
Elsewhere, Che has also become a pop hero. In the United States,
western Europe, and Latin America his image has become commercial-
ized through the marketing of shirts, handkerchiefs, music albums, CD
covers, posters, beer, ash trays, jeans, watches, and even towels imprinted
with his picture or name. As a pop or commercialized hero fi gure, Che
is often depicted in a sardonic or satirical manner. In this commercial-
ized iconic image he is not the heroic revolutionary fi gure the Cuban
leaders and his contemporary admirers hold up as the model of the 21st-
century human being; rather, he is a humorous or satirical caricature.
For his family and friends as well as those who admire Che as a heroic