The History of Cigars in Literature

Cigars in literature have always been more than rolled tobacco; they are tokens of sophistication, power, rebellion, and reflection. From vivid scenes of opulent cigar lounges to the quiet solace of late-night smoke, cigars create memorable moments and add layers to characters’ identities.

This exploration through literature reveals how cigars evolved from a New World curiosity into symbols of culture and status. Beyond their visual or sensual appeal, cigars are literary tools—an invitation to linger, observe, and savour a character’s world more fully. For those who appreciate cigars and books alike, this article concludes with a curated list of novels where Cuban cigar culture comes to life.

Cigars first captured European attention in the Caribbean, where Indigenous people had been using tobacco ceremonially and medicinally for centuries. Spanish explorers, especially Christopher Columbus and his crew, were among the first Europeans to witness this practice. When Columbus reached the Bahamas in 1492, his crew noticed Indigenous people rolling dried tobacco leaves and smoking them, calling this activity “cohiba.” They adopted the habit quickly, intrigued by the ritualistic, almost sacred nature of smoking.

One of the earliest written accounts came from Bartolomé de las Casas, a Spanish missionary and historian, who noted that Indigenous people smoked “tabacos”—a term that referred to the smoking tubes they crafted. In his chronicles, A Short Account of the Destruction of the Indies, Las Casas shared his fascination with tobacco, describing its effects on the smoker and marvelling at its novelty.

Initially, tobacco was rare in Europe, reserved only for the elite who could afford such exotic items. Tobacco use began spreading throughout the continent by the late 16th and early 17th centuries, evolving into pipes, snuff, and eventually cigars. These early descriptions imbued cigars with an aura of the exotic, associating them with discovery, far-off lands, and luxury, a theme that writers began to weave into their works.

By the 19th century, cigars had gained popularity across Europe and America, symbolising refinement, wealth, and the leisurely lifestyles of the elite. In England, cigars became part of the British gentleman’s image, thanks to literary icons like Charles Dickens. In The Pickwick Papers (1836), Dickens paints Mr. Pickwick and his companions as middle-to-upper-class men of means who casually smoke cigars as they bond over stories, humour, and camaraderie. Through these scenes, cigars embody the era’s social customs, representing both class and the increasingly popular idea of gentlemanly leisure.

In France, Honoré de Balzac incorporated cigars as symbols of bourgeois wealth and indulgence in novels such as La Comédie Humaine, which chronicles France’s bourgeois class. Balzac, a cigar aficionado himself, often described the rich aroma of cigars in lavish detail, aligning them with the traits of sophistication, opulence, and aesthetic pleasure. To Balzac, cigars epitomised the lifestyle of a cultured man, one who appreciates life’s finer elements. The cigar became an extension of the French bourgeoisie's identity—a symbol of worldliness, success, and refined taste.

The enduring popularity of cigars also found its way into Sir Arthur Conan Doyle’s Sherlock Holmes stories. While Holmes is best known for his pipe, cigars served as additional tools in his observations. Doyle’s portrayal of cigars as symbols of calm intellect and social privilege reinforced the cigar’s role as a staple of Victorian sophistication and wisdom.

In the early 20th century, cigars grew into a powerful symbol of masculinity, resilience, and adventure, particularly in American literature. Ernest Hemingway, known for his rugged lifestyle and love of Cuban cigars, drew on his personal experiences to write characters who exuded strength and unbreakable spirit. In For Whom the Bell Tolls (1940), cigars become a quiet form of solace for soldiers facing war, marking moments of camaraderie and shared humanity amid chaos. Hemingway’s depictions cemented cigars as an emblem of rugged masculinity, endurance, and comradeship—qualities Hemingway admired and embodied.

Latin American authors, particularly those from countries with strong tobacco traditions, began incorporating cigars into their literary works as well. Gabriel García Márquez’s One Hundred Years of Solitude (1967) is rich with scenes that capture Colombian traditions, and cigars subtly underscore themes of cultural heritage and generational memory. Cigars in Márquez’s magical realism represent more than smoke and ash; they are symbols of lineage, an emblem of continuity in the cyclical lives of his characters.

In America’s Jazz Age, F. Scott Fitzgerald used cigars to symbolise wealth, power, and status in The Great Gatsby (1925). Tom Buchanan, one of Fitzgerald’s wealthiest and most domineering characters, is often seen with a cigar, embodying privilege, self-assuredness, and even the excesses of America’s elite. For Fitzgerald, cigars became a shorthand for the Jazz Age’s allure and its moral complexities, encapsulating both grandeur and superficiality.

Cigars offer characters moments of contemplation, self-assurance, or silent rebellion. In Fyodor Dostoevsky’s The Brothers Karamazov (1880), cigars play a role in the story’s philosophical undertones, providing characters with opportunities to reflect or debate. In Russian literature, cigars are not only status symbols but also tools for self-reflection, enriching the depth and intensity of Dostoevsky’s existential inquiries.

In American crime novels, cigars frequently appear in the hands of characters who wield power or inspire fear. Mario Puzo’s The Godfather (1969) uses cigars as props for mafia dons, figures who command authority and respect. Through cigars, Puzo heightens the image of his characters, cementing them as symbols of influence, power, and the dark allure of organised crime.

Many of the writers who made cigars iconic in literature had a personal passion for them, infusing their work with firsthand appreciation. Mark Twain was perhaps the most famous literary cigar smoker. Known to smoke up to 20 cigars daily, Twain once joked, “I smoke in moderation—only one cigar at a time.” His characters often reflect his fondness for cigars, associating them with a sense of freedom, independence, and a bit of mischief. In The Adventures of Tom Sawyer, cigars symbolise a playful defiance of norms, tying Twain’s rebellious spirit to his storytelling.

Ernest Hemingway, a lifelong devotee of Cuban cigars, frequently depicted characters with cigar habits that mirrored his rugged lifestyle. For Hemingway, cigars symbolised life’s richness, resilience, and even simplicity. In The Old Man and the Sea, the old fisherman Santiago enjoys cigars as a rare pleasure amid hardship, illustrating Hemingway’s belief in savouring life’s simple pleasures, even in adversity.

Arthur Conan Doyle also enjoyed cigars, particularly after achieving financial success with Sherlock Holmes. For Doyle, cigars signified intellectual leisure and were likely an inspiration for Holmes’s smoking habits. Although Holmes is known for his pipe, Doyle’s inclusion of cigars symbolised the cultivated taste of London’s elite, giving readers a window into Holmes’s upper-class lifestyle.

Gabriel García Márquez was deeply aware of the cultural significance of cigars, having grown up in Colombia, where tobacco was culturally and economically significant. Although García Márquez was not known to be a smoker, his familiarity with Colombian traditions allowed him to use cigars in his works to evoke heritage and nostalgia, particularly in One Hundred Years of Solitude, where cigars serve as reminders of past generations and customs.

Beyond novels, cigars have appeared in poetry and essays, often symbolising life’s impermanence or small joys. Walt Whitman, in Leaves of Grass, used smoke as a metaphor for the passage of time, conjuring images of fading memories and fleeting beauty. For Whitman, smoke was not just an element of nature but a reminder of life’s ephemeral nature.

George Orwell, in his essay “Books vs. Cigarettes” (1946), contrasts the expense of books and cigars, using cigars as a symbol of life’s modest pleasures. Orwell reflects on cigars as minor indulgences, arguing that small luxuries, like reading and smoking, are invaluable for personal well-being. The essay humorously underscores the affordability of both cigars and books, suggesting that these indulgences should be accessible to all.

For readers seeking an immersive dive into cigar culture, these novels capture Cuban cigar culture beautifully:

1. Our Man in Havana by Graham Greene – A witty, espionage-filled satire set in Havana, Greene’s novel captures the ambiance of Cuba’s cigar lounges, offering readers a nuanced look at Cuban politics and society.

2. The Old Man and the Sea by Ernest Hemingway – Although centred on the ocean, this novel’s cigar-smoking scenes reflect the simplicity and beauty of Cuban life.

3. Cuba and the Night by Pico Iyer – Iyer’s novel paints Havana as a character itself, with scenes thick with cigar smoke and vibrant nightlife.

4. Dreaming in Cuban by Cristina García – Spanning generations, this novel portrays Cuban heritage, using cigars as a cultural thread connecting the characters to their roots.

The journey of cigars in literature reveals a fascinating evolution from luxury to symbols of strength, class, and tradition. Through scenes of opulence, rebellion, and introspection, cigars become an intimate part of storytelling, connecting readers with the lives, ideals, and identities of characters. Whether evoking wealth or quiet contemplation, cigars in literature invite readers to linger in each scene, savouring the story as they would a fine cigar.

- Casas, Bartolomé de las. A Short Account of the Destruction of the Indies. New York: Penguin Classics, 1992.

- Dickens, Charles. The Pickwick Papers. London: Chapman & Hall, 1836.

- Doyle, Arthur Conan. The Adventures of Sherlock Holmes. London: George Newnes Ltd, 1892.

- Hemingway, Ernest. For Whom the Bell Tolls. New York: Scribner, 1940.

- García Márquez, Gabriel. One Hundred Years of Solitude. New York: Harper & Row, 1970.

- Orwell, George. “Books vs. Cigarettes.” The Collected Essays, Journalism and Letters of George Orwell. London: Secker & Warburg, 1968.