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Cuba Backs Writer María Elena Llana’s Candidacy for the 2026 Cervantes Prize

15 October 2026 at 20:45

The Cuban Book Institute (ICL) has formally endorsed the candidacy of Cuban writer María Elena Llana Castro for the 2026 Miguel de Cervantes Prize for Literature in the Spanish Language, through a letter sent to the competition’s jury. The institution highlighted her career spanning more than six decades and her contribution to contemporary Cuban narrative.

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In the letter, the ICL—the governing body for the publishing, marketing, and promotion of books and serial publications, which operates under Cuba’s Ministry of Culture—described Llana Castro as one of the country’s most significant narrative writers. It noted that she received the 2023 National Literature Prize in recognition of her originality, stylistic skill, keen observation of the social environment in Havana, and her use of irony and humor.

The document underscored the author’s standing within the realm of Cuban fantastic literature and cited more than 15 published books. Among these, it highlighted La reja (Ediciones Revolución, 1965) and Casas del Vedado (Letras Cubanas, 1983)—a work that, according to the ICL, explored the fantastic dimension of the remnants of the former Cuban bourgeoisie.

The ICL also highlighted her work for younger audiences, including titles such as Sueños, sustos y sorpresas (Gente Nueva, 2011), Desde Marte hasta el parque (Gente Nueva, 2014), and Cuentos de viejos (Ediciones Aldabón, 2024).

La escritora María Elena Llana ha sido propuesta al Premio Cervantes 2026. Con esta nominación, se une Fina García Marruz,Dulce María Loynaz quien lo obtuvo en 1992 las únicas cubanas en ser postuladas al galardón constituye una conquista para la cultura cubana y su literatura. pic.twitter.com/Bk6WZNXiFA

— Roberto Jimenez (@Roberto196801) October 11, 2026

The text reads, “The writer María Elena Llana has been nominated for the 2026 Cervantes Prize. With this nomination, she joins Fina García Marruz and Dulce María Loynaz—the latter of whom won the award in 1992—as one of the few Cuban women to be put forward for the honor; this represents a significant achievement for Cuban culture and literature.”

The ICL noted that Llana Castro’s short stories have been included in international anthologies and translated into other languages. Furthermore, it pointed out that her body of work has been the subject of academic study in Cuba, Spain, the United States, and Mexico.

Between 1959 and 1992, the candidate carried out extensive work across newspapers, magazines, radio, television, and the news agency Prensa Latina. According to the letter, this experience enabled her to develop a meticulous command of language—a quality evident in her body of work, which is rooted in philosophical, anthropological, and cultural themes.

The institute also highlighted her contributions to national radio, where she adapted works of world literature for the radio medium. Llana Castro has served as a professor of journalism and the Spanish language in Vietnam, Angola, Mexico, Cuba, and the United States; she is also a founding member of both the Union of Journalists of Cuba and the Union of Writers and Artists of Cuba.

The ICL asserted that the 2026 Cervantes Prize would be a fitting tribute to her more than six decades of literary work, and urged that the significance of her legacy be taken into account.

#Literature | Canadian poet Anne Carson wins the 2026 Nobel Prize in Literature, recognized for her inventive approach to poetry, fiction and classical storytelling.#AnneCarson #NobelPrize2026 #teleSUREnglish pic.twitter.com/lFTqCRomaA

— teleSUR English (@telesurenglish) October 9, 2026

Faust review – FW Murnau’s silent masterpiece is a devilishly dazzling vision

15 October 2026 at 09:00

The 1926 film of Goethe’s tragic tale of a man who sells his soul to the devil remains a spectacular feat of German expressionism

The centenary of FW Murnau’s silent fantasy-melodrama from 1926 is the occasion to ponder this mysterious film, taken from Goethe’s 19th-century depiction of the alchemist and natural philosopher who sells his soul to the devil but, in a very high-minded climax of German romanticism, is redeemed by love. (Not love of God precisely, but love of a good woman; the word “Liebe” finally appears at the centre of Murnau’s radiating vision of concentric circles conjured by the heavens, which annul his debt to the Evil One.) It is therefore very different from Christopher Marlowe’s scarier and more unforgiving account of Doctor Faustus.

Murnau’s Faust is (obviously) concerned with and animated by evil, and there are echoes of his Nosferatu, made four years previously. In this film, Faust, having struck his bargain on a provisional 24-hour basis with Mephisto, finds that he is scared of a crucifix, like a vampire. It is also very much a film of Weimar Germany with its mad energy and streaks of garish satire and black comedy; the book-burning scene in which Faust immolates all his necromancy volumes, along with the Bible, is one which resonated with later events. (Perhaps it indirectly inspired Klaus Mann’s novel Mephisto, later to be filmed by István Szabó.)

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© Photograph: Courtesy of Mubi

© Photograph: Courtesy of Mubi

© Photograph: Courtesy of Mubi

Her royal heilness: Berlin show revisits the artist who turned the Queen into a Nazi

15 October 2026 at 07:00

The late Christoph Schlingensief was one of German art’s great provocateurs. Can his B-Movie horror aesthetics still shock us into thinking anew about media power, colonialism, and the far right?

Christoph Schlingensief certainly knew how to provoke. “Fury at German play that shows Queen as a Nazi,” read the Sunday Express’s headline after Kaprow City first premiered at Berlin’s Volksbühne theatre in 2006. Drawing on the happenings of US performance artist Allan Kaprow, the play turned its attention to Diana, Princess of Wales’s death. In one scene, the then queen performs a Hitler salute. Another re-enacts the paparazzi chase that led to Diana’s fatal crash. Diana appears in bed beside two men with Down’s syndrome; and Camilla is pelted with animal blood. Schlingensief insisted the work was not meant as provocation but as an investigation into how Diana turned into a modern icon. But his art thrived on outrage, exposing the absurdity of societies that glorify their idols while consuming their lives as entertainment.

Kaprow City is at the heart of a new Berlin show – It’s Not My Problem Anymore, Deal With Your Own Shit – that revisits the artist’s legacy. In the Gropius Bau’s grand neo-Renaissance atrium, visitors encounter remnants of the carousel-like rotating stage he called the “animatograph”. Looking at this installation today feels like a glimpse into Schlingensief’s mind: a messy collage of childhood memories, violent fantasies and royal glamour.

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© Photograph: © Estate of Christoph Schlingensief

© Photograph: © Estate of Christoph Schlingensief

© Photograph: © Estate of Christoph Schlingensief

Verse from the waste land: Rotterdam’s poetic bin lorries granted cultural status

Lyrical lines printed on side of city’s fleet of rubbish trucks now recognised as one of Netherlands’ proud traditions

It is best known for its rich migration history and striking modern architecture. But now the Dutch city of Rotterdam is seeking recognition for a rather different characteristic: its tradition of printing poetry on bin trucks.

Since a poetry festival first came up with the idea in 1988, lines of verse have been printed on all of the city’s waste vehicles. The practice was this week elevated to the status of intangible cultural heritage, with formal recognition from a Dutch body that guards the nation’s traditions.

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© Photograph: Irene Hoekstra

© Photograph: Irene Hoekstra

© Photograph: Irene Hoekstra

Why Chinese culture lands so fluently and freely in Vietnam

15 October 2026 at 02:58

A recent ISEAS Fulcrum commentary by Hoang Thi Ha and Pham Thi Phuong Thao offers a useful mapping of how Chinese culture and economic opportunity are drawing in young Vietnamese. The authors are right that this bottom-up attraction is unfolding alongside renewed official promotion of people-to-people ties, and that long-standing sensitivities about China have not […]

The post Why Chinese culture lands so fluently and freely in Vietnam appeared first on Asia Times.

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