Abilio Roberto Estévez Pazo

Abilio Estévez is a Cuban writer. He currently lives in Palma de Mallorca, Balearic Islands, Spain. Author of poems, short stories, plays and novels. He is characterized by his expressive, dreamlike language full of nostalgia and symbolism. He is a contributor to numerous magazines and newspapers.

He was born in Marianao, next to the old Columbia barracks, where his father was a radiotelegraphist in the Signal Corps. He lived in Marianao until his departure from Cuba. His family is originally from Bauta and Artemisa, towns in the interior of Havana and Pinar del Río, respectively. He was a student at the Pre-University of Marianao.

In 1977, he graduated with a degree in Spanish Language and Literature from the University of Havana, where the following year he completed a postgraduate degree in philosophy.

He met Virgilio Piñera in 1975 and was a friend of the great Cuban writer until his death in 1979.

He worked at the Albear Aqueduct and at the Editorial de Libros para la Educación.

Some years later, he won the "José Antonio Ramos" award for his theatrical piece La verdadera culpa de Juan Clemente Zenea, staged by Abelardo Estorino, with Adria Santana and Julio Rodríguez in the lead roles. He also worked as theatrical advisor to director Roberto Blanco in "Teatro Irrumpe," and with Carlos Díaz in "El Público," whose advisory work helped with the staging of García Lorca's work with the same name.

At age 46 he emigrated from Cuba. On March 5, 2004, the Spanish government granted him Spanish nationality by Letter of Naturalization, through RD 386/2004, of March 5.

Considered one of the most important playwrights of his generation, he has written a dozen pieces and taught in several countries (United States, Italy, Venezuela).

Estévez is a versatile writer—novelist, short story writer, poet and playwright—who has been awarded in all the genres in which he has worked. His novel Tuyo es el reino, considered by many as his best work to date, has won the Cuban Critics' Prize 1999, and the Best Foreign Book Award published in France in 2000. His books have been translated and published in English, French, German, Italian, Portuguese, Finnish, Danish, Dutch, Norwegian, and Greek.

Main Works and Awards

He has written two magnificent novels acclaimed by critics, Tuyo es el reino, winner of the Cuban Critics' Prize 1999 and in France, the Best Foreign Book Award 2000, and Los palacios distantes, selected by La Vanguardia as Book of the Year in 2004, both translated into more than eight languages.

He is also the author of the short story collection El horizonte y otros regresos, Juego con Gloria, the prose poems Manual de tentaciones—winners of the Luis Cernuda Prize (Seville, 1986) and the Cuban Critics' Prize (1987)—and several theatrical texts, including the monologues Ceremonias para actores desesperados.

In 1984 he won the José Antonio Ramos Prize from UNEAC with his piece La verdadera culpa de Juan Clemente Zenea and in 1987 he earned in Spain the Luis Cernuda Prize for his poetry collection Manual de las tentaciones, and in 1989 this same title won the Cuban Critics' Prize.

Works

Novel

1997. Tuyo es el reino. Tusquets Editores, Barcelona.
2002. Los palacios distantes. Tusquets Editores, Barcelona.
2004. Inventario secreto de La Habana. Tusquets Editores, Barcelona.
2008. El navegante dormido. Tusquets Editores, Barcelona.
2010. El bailarín ruso de Montecarlo. Tusquets Editores, Barcelona.
2012. El año del calipso. Colección La Sonrisa Vertical. Tusquets Editores, Barcelona.
2015. Archipiélagos. Colección Andanzas, Tusquets Editores, Barcelona.

Short Story

1987. Juego con Gloria. Ed. Letras Cubanas, La Habana.
1998. El horizonte y otros regresos. Tusquets Editores, Barcelona, España.
2022. Cómo conocí al sembrador de árboles. Tusquets Editores, Barcelona, España.

Poetry

1989. Manual de las tentaciones. Prose Poems. La Habana, Ed. Letras Cubanas. Reissued in 1999 by Tusquets.
1995. Muerte y transfiguración. Poem. Revista Unión, No. 21, October-December, La Habana (also published in 1993 by Magazine Dominical de El Espectador, Bogotá, Colombia).

Theater

1987. La verdadera culpa de Juan Clemente Zenea. Ediciones Unión, La Habana (translated into Polish and published in Warsaw, Dialog, 1989; also released in 1992 in Spain: Madrid, Colección Teatro Hispano, Fondo de Cultura Económica, Ministerio de Cultura).
1993. Perla marina. Ediciones de la revista Tablas, La Habana.
1995. Santa Cecilia. Revista Unión, No. 18, January-March, La Habana.
1995. La noche. Ediciones de Cultura Hispánica, Madrid.
1997. La noche y Un sueño feliz. Ed. Letras Cubanas, La Habana.
2004. Ceremonias para actores desesperados Theater (includes 3 pieces: Santa Cecilia, Freddie and El enano en la botella). Tusquets Editores, Barcelona.
2013. Un sueño feliz. La noche. Colección El cerco de tiza. Editorial Folium. San Juan, Puerto Rico.
2015. Los adioses, Dos ceremonias para actores desesperados, Albatros, Colección Extramares, Geneva, Switzerland.
2015. Teatro selecto. Editorial Verbum, Madrid.

Essay

2022. La imagen en el espejo, Ediciones Furtiva, Miami, United States.
2020. Testimonios de la orgía, Sloper, Palma de Mallorca, Balearic Islands, Spain.
2016. Tan delicioso peligro. (Considerations on Literature and Difficult Times). Folium, San Juan, Puerto Rico.

Theater Premieres

2019. Freddie. Festival Out of the Wings. London. Translation by Kate Eton. Direction by Camila González. Performance by Santiago del Fosco.
2019. La noche. Staging by Carlos III University, Madrid, under the direction of Abel González Melo.
2016. El enano en la botella. Staging by: Teatro Libre, Costa Rica. Performance by Roberto Bautista. Direction by Elvia Amador.
2015. El enano en la botella. Dramatic Reading. Casa de América Catalunya. Actress: Anna Casas. Direction: Alfredo Alonso.
2015. Freddie, Théatre de L´Ecole Normal Supériore de Paris. Direction: Iván Jiménez.
2015. Josephine. Cérémonies por actrices désespérées. Théatre de la Parfumerie, Geneva, Switzerland. Performance: Amanda Cepero and Coralia Rodríguez. Direction: Carlos Díaz.
2015. El enano en la botella, Tururú Teatro, Madrid, Spain. Actor: Luis Jaspe. Direction: Nidia Moros.
2014. Le nain dans le bouteille. Théatre de L´Ecole Normal Supériore de Paris. Direction: Iván Jiménez.
2010. La última función. Miami, ballet-theater production, starring Cuban prima ballerina Rosario Suárez (Charín) and Cuban actor Julio Rodríguez, with artistic direction by Lilliam Vega, for Nobarte Producciones. Premiered at the Byron Carlyle Theater, Miami Beach.
2009. La noche. El estudio Group. Center for Theater Dissemination, Asunción, Paraguay, under the direction of Agustín Núnez. "Leopoldo Marechal" Theater Room.
2006. Freddie. Ceremony for a Desperate Actor. Havana, Teatro El Público Group, directed by Carlos Díaz.
2000. El enano en la botella. Miami, by actress Gretel Trujillo and the Teatro de la Luna group, within the framework of the Short Format Festival. Stagings at Repertorio Español (Off-Broadway), New York.
1996. La noche. XI Festival of Hispano-American Theater, Miami. La Má Teodora Group, directed by Alberto Sarraín, June 6.
1995. La noche, heretic mystery in thirty episodes and three possible endings. Havana. Teatro Irrumpe Group, direction by the author and Roberto Blanco.
1994. Santa Cecilia, ceremony for a desperate actress, monologue. Havana, by actress Vivian Acosta of Grupo Galiano 108, direction by José Agustín González. The following year, on April 22, it was premiered in Berlin by actress Petra Kelling; direction by Eddy Socorro at the Theater an Carrousel der Parkaue. Also: Miami, Cultural Group La Má Teodora and actress Daisy Fontao, direction by Alberto Sarraín, December 1, 1995; Caracas, by actress Laura Serra, Teatro Ensayo, 1997; La Paz, Bolivia, by actress Vivian Acosta, 1997.
1993. Perla marina. Teatro Irrumpe Group, directed by Roberto Bertrand. Mijail Mulkay adapted this work into a monologue and premiered it in Havana in 1995, with his own direction and performance.
1992. Un sueño feliz, Havana, Teatro Irrumpe Group, direction by Roberto Blanco (Critics' Prize).
1986. La verdadera culpa de Juan Clemente Zenea, Teatro Estudio de La Habana Group, directed by Abelardo Estorino. The Prometeo group presented it in 1991 at the International Festival of Hispano-American Theater, Miami, directed by Alberto Sarraín. Both this piece and Un sueño feliz were broadcast and televised in Cuba.

Awards and Recognition

2017: "Lire en Sorbonne" Award for El bailarín ruso de Montecarlo, Université Paris-Sorbonne, Paris, 2017.
2015: Fellowship from the Antonio López Lamadrid Foundation for the writing of the novel Archipiélagos. Barcelona, Spain.
2013: Tribute to Abilio Estévez at the Luis Cernuda Chair of the University of Seville, presided over by professor José Manuel Camacho, with the presence of Michèlle Ramond, Milagros Ezquerro, Clemétine Lucien, Armando Valdés-Zamora, Daniel Nemrava, Pio Serrano and Pablo Sánchez.
2012: "Abilio Estévez" Day at the École Normale Supérieure de Paris, with the presence of the author, as well as prominent hispanists such as Milagros Ezquerro, Cleméntine Lucien, Audrey Aubou, Armando Valdés-Zamora, Cindy Quillivic, Lionel Souquet, Michäela Sviezeny Grevin.
2011: Second Prize for short story "Antonio Machado", Story: "Colinas de Ettersberg", Train Awards. Foundation of Spanish Railways.
2010: Honorable Mention for short story "Antonio Machado", Story: "El tren de los domingos", Train Awards. Foundation of Spanish Railways.
2006: Second Prize for short story "Antonio Machado", Story: "El tren bajo la lluvia", Train Awards. Foundation of Spanish Railways.
2003: Best Text Award at the Monologue Festival of Cienfuegos for El enano en la botella
2002: Book of the Year by La Vanguardia for Los palacios distantes
2001: "Rine Leal" Award for best text presented at the Miami Small Format Theater Festival for the monologue El enano en la botella
2000: Best Foreign Book Award in France for the novel Tuyo es el reino
1999: Cuban Critics' Prize for the novel Tuyo es el reino
1994: XXIV Tirso de Molina Theater Award, granted by the Ibero-American Cooperation Institute of Madrid for La noche
1991: Specialized Critics' Prize for the staging of Un sueño feliz, Havana.
1991: Santiago Pita Award for best theatrical text presented at the Havana Theater Festival, for La verdadera culpa de Juan Clemente Zenea
1989: Luis Cernuda Prize (Seville), for the prose poetry book Manual de las tentaciones
1989: Cuban Critics' Prize for the prose poetry book Manual de las tentaciones
1987: Cuban Critics' Prize for best theatrical work published as a book for La verdadera culpa de Juan Clemente Zenea
1984: José Antonio Ramos Prize from the Union of Cuban Writers and Artists for La verdadera culpa de Juan Clemente Zenea.

Critical Opinion

On El año del calipso:

"With this new novel, Abilio Estévez confirms the great quality of his literature and his place among the best contemporary Cuban writers". Félix José Hernández, blog Cubamatinal.

"With this 'total expression' Estévez avoids in El año del calipso the simple narration of events to underscore his capacity for mythmaking". Ricardo Baixeras, El Periódico de Cataluña.

On El bailarín ruso de Montecarlo:

"In any case, for its literary values El bailarín ruso de Montecarlo stands well above much of the narrative being written today in our language". Carlos Espinosa Domínguez, Encuentro por la cultura cubana.

"A brief, tender and direct work consumed slowly and with relish, savoring each scene and each memory. A small masterpiece that does not deserve to be forgotten". Pepe Rodríguez, El placer de la lectura.

"An unusual narrative wisdom… A highly personal vision of Havana that owes much to José Lezama Lima, from whom Estévez takes a hypertrophic memory, and to Alejo Carpentier, from whom he learned the art of storytelling". Ricardo Baixeras, El Periódico.

"Abilio Estévez writes several of the best pages his eyes have set upon: the writing here rests upon the gaze. A gaze that observes the lights and shadows of Constantino and also, with equal obsession, chooses the precise words so that we read with transparency what the author wished to reveal to us. The result is a silent and serene narrative: an almost perfect novel." Eliseo Alberto, Millenium, Mexico City, 2010.

"It is unnecessary to insist on the sometimes lyrical power of Abilio Estévez, a narrator for the future". Leer

On El navegante dormido:

"The novel has, first of all, a wise composition that serves as its framework and allows the plot to be admirably woven. Estévez also offers a lesson in how to write an emotional story without falling into sentimentalism, and in that sense it is not an exaggeration to say that it is an exercise in sensitivity and intelligence". Carlos Espinosa Domínguez, Encuentro por la cultura cubana, 2010.

"The literary imagination of Abilio Estévez moves away from the procedures of classical imagination. In his case, the real is not the basis for the elaboration of images. Writing seeks to isolate the subject from reality, holding it in a place and time that he yearns for and that he can only inhabit, precisely, through creative imagination." Armando Valdés-Zamora, Encuentro por la cultura cubana.

A paradigm of expository precision… and exquisite literary tact. Abilio Estévez has needed in this title only the most luminous fiction to govern with aesthetic depth the nostalgia for what was lost. J.E. Ayala-Dip, Babelia, El País.

"Sum and culmination of a formidable trilogy… A splendid, polished, clear Castilian… A definitively beautiful novel". Miguel García-Posada, Abc de las Artes y las Letras

"Novel-saga, it continues to be a Byzantine novel, Quixotic, García Márquezean…, also a political novel. An excellent storyteller and a brilliant landscape painter." Joaquín Marco, El Mundo.

On Inventario secreto de La Habana:

"After the death of Guillermo Cabrera Infante, the most interesting Cuban writer of our time". Jordi LLavina, La Vanguardia.

"An extraordinary and original book, exceptionally beautiful and intelligent about Havana." Mihály Dés, Lateral.

On Los palacios distantes:

"A desolate and beautiful work, full of radical poetry, which corroborates the talent of one of the best Latin American narrators of the present time." Miguel García-Posada, Abc.

"A profoundly subversive novel. The Tyrant is immortal, but so is man's capacity to build distant and fantastic palaces, hidden from reality, especially when a writer can becomes the excellent architect of his re-found paradise."

Raphaël Rérolle, Le Monde

On Tuyo es el reino:

"The first novel by Cuban Abilio Estévez opens new literary paths, as Paradiso and One Hundred Years of Solitude did". Robert Saladrigas, La Vanguardia.

"A hugely ambitious effusion of magical realist mythmaking." Jon Gareick, The New York Times.

"Enticing literary gamesmanship from a remarkably accomplished new novelist." Kirkus Review