For a number of years, one of the Ortega regime’s strong points was their propaganda. A large part of the population was hypnotized by the siren songs that government spokespeople, the media, their allies and servants repeated over and over.
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There’s been a lot of talk lately about criticism within the broad sector that opposes the Ortega-Murillo dictatorship. A collective catharsis is taking place in the social networks.
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It was the end of summer 1987, I was 10 years old, and Trianon was still a movie theater at the time. Darkness. The first image: The fog disperses as dawn breaks behind a lighthouse where the protagonist looks out at the waves: “The sea… It’s contaminated with radiation… Will it ever be blue again?”
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This past Tuesday, during the anniversary of the Naval Force celebrated with the top brass of the Nicaraguan Army, the dictator Daniel Ortega revived his promise to build an interoceanic canal, which according to his official plans should already be about to be inaugurated this year 2019.
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I was recently talking to my friends about women’s orgasms, but I soon realized that I felt embarrassed. I have noticed that this subject doesn’t come up very often in our conversations, or we just leave it as nothing more than a joke.
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Each stanza, each line of this poem by the Cuban poet Nicolas Guillen, whose relevance today leaves us speechless, is worth dedicating a program of the nightly TV Round Table show to analyze it and discuss it with the breadth, depth and detail that it merits.
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Ten years ago, I flew across the Amazon Jungle, amazed by its immensity though also alarmed by scares where thick greenery had been cleared away and substituted by dismal remains of dead trees, or dry cattle pastures and soy plantations.
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Today, Havana Times is publishing a reader’s account about something that happened in her childhood; it is never too late to speak out, to reflect upon what happened, to warn others.
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A laudable work that marvelously combines the beautiful and the useful.
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Among the dozens of photos that the days of repression against the “vandalizers” have left us, one of the most iconic shows six elderly men sitting at a table while one on foot paces left to right with a leaden step, as if presenting a tableau of the trajectory of the FSLN leadership.
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