Leonardo Padura Presents Morir en la Arena at Hay Festival 2026

Leonardo Padura, Cuba’s most prestigious writer of his generation, once again captivated Latin American audiences during the Hay Festival held in Cartagena and Barranquilla in early February 2026. At Universidad del Norte, the seventy-year-old author presented his new novel “La puerta grande o morir en la arena” (The Main Gate or Die in the Sand), a work that promises to become another milestone in contemporary Cuban literature.

A Return to the Eternal Havana

Padura’s new novel continues his obsessive exploration of Havana, the city that has been both setting and protagonist of virtually all his work. As he explained during his presentation: “When I’m in the Colombian Caribbean, I have trouble knowing where I am. I don’t know if I’m in Cartagena, Barranquilla, or Havana.”

In Morir en la arena, we meet Rodolfo, a recently retired man carrying a past that never fully closed. The story spans more than five decades of Cuban history—from the mid-twentieth century to the early 2000s—interweaving:

• A patricide committed by his brother
• Memories of the Angolan War
• An old love that silently reappears

The Art of Telling What’s Already Known

During his conversation with Professor Alana Roa, Padura reflected on the challenges of historical and detective fiction, genres he has mastered like few others writing in Spanish:

“The real challenge is how to tell a story when the reader already knows the most dramatic event beforehand. How do you tell a story when the main event is known before you even start reading?”

This question has guided masterpieces like The Man Who Loved Dogs (2009), his monumental novel about Trotsky’s assassination, and Heretics (2013), winner of the City of Zaragoza Historical Novel Prize.

Mario Conde: The Detective Who Portrays Cuba

Although Morir en la arena doesn’t belong to the Mario Conde series, it’s impossible to discuss Padura without mentioning his celebrated detective. From Havana Blue (1991) to Decent People (2022), Mario Conde has walked Havana’s streets as witness and chronicler of Cuba’s transformations.

The detective—nostalgic, melancholic, a lover of rum and boleros—has become Padura’s literary alter ego, allowing him to explore the social, economic, and political tensions of the island through crime plots that transcend the genre.

The Heterodox Writer

Padura defined himself as a “heterodox writer,” someone who writes from freedom rather than labels. His literary influences are vast: from Alejo Carpentier and José Lezama Lima to Mario Vargas Llosa and Cabrera Infante.

“The fashionable writers were Vargas Llosa, Cabrera Infante, Juan Rulfo, Alejo Carpentier, Lezama Lima… When I was writing my first novel, I had to stop because I was reading Palinuro of Mexico and was writing like Fernando del Paso.”

Why Padura Doesn’t Leave Cuba

Unlike many Cuban intellectuals of his generation, Leonardo Padura has chosen to remain in Havana. His recent book “Ir a La Habana” (Going to Havana, Tusquets Editores, 2024) is a tribute to the city that shaped him—an intimate and critical journey through its streets, its people, its ruins, and its beauty.

For Padura, writing about Cuba is “a form of resistance, memory, and love.” And although he acknowledges the country’s difficulties, his gaze is never that of a tourist or an exile, but of the habanero who knows every corner of his city.

An Essential Voice

With the Princess of Asturias Award for Literature (2015) and translations into more than twenty languages, Leonardo Padura has established himself as one of the most important voices in contemporary Spanish-language literature. His work transcends borders and genres, offering a unique window into the Cuba that lives, remembers, and dreams.

Morir en la arena is available in Spanish-language bookstores and promises to be one of the essential reads of 2026.

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