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Our library welcomes the Trader Faulkner Collection

El 23 de mayo de 2022 en Uncategorized por | Sin comentarios

We are happy to introduce you to the Trader Faulkner Collection, the latest donation received in our library. This collection is made up of 90 books, audio CDs, some manuscripts of his translations and some memorabilia. His executor. His executor gave us the originals on May 12 at Instituto Cervantes London.

The actor, author, flamenco dancer and hispanophile Trader Faulkner passed away in April 2021 in London, leaving behind a wealth of material related to Spain and Spanish culture. 

He was born in Australia, but moved to London in 1950 and immediately embarked on a long and distinguished career as an actor. Shortly after his arrival in London he saw Antonio the Dancer’s flamenco group in a theatre in Shaftesbury Avenue, and immediately fell in love with flamenco dancing. 

He decided to study flamenco to use the discipline and skills used in flamenco dancing to help him with his movement and balance as an actor. However, he did perform as a flamenco dancer, in his own company ‘Los Rondeños’ (at the Teatro Real de la Corte, among other venues), and was eventually invited by Antonio el Bailarín to dance Farruca when his company performed at the Paladium. 

Trader studied flamenco with many of the great’s flamenco dancers, including El Cojo de Madrid, Carmen Amaya, Antonio el Bailarín and Antonio Gades, and became friends with many of them. He was also a close friend of Paco Peña.

He ended his career as an actor by putting together a theatrical evocation of the life and work of perhaps Spain’s greatest recent poet/playwright, Federico García Lorca.

As the years passed and his love of Spanish continued, he translated several classic Spanish plays into English, one of which, Divinas Palabras by Miguel del Valle Inclán, was performed at the National Theatre in the UK.

For his work in bringing Spanish culture to Britain, in 1983 Trader was awarded the Order of Civil Merit by King Juan Carlos.  

When Trader passed away, he left behind a wealth of material collected over the years relating to Spain and its culture, which his family and friends have generously donated to our library. 

It should also be noted that Trader performed at the former Spanish Institute in 1991 (now Instituto Cervantes) including extracts from his Lorca show, as one of the cassettes in our library shows. 

To see the complete collection click here.

Easy Reading: Spanish writer Cristina Morales’ first book to be published in the UK

El 14 de febrero de 2022 en Uncategorized por | Sin comentarios

The daring and provocative novel ‘Easy Reading’ about bodies, sex, politics and disability by the prize-winning Spanish writer Cristina Morales and her first to be published in the UK.

Ángela, Patricia, Marga and Nati are cousins living together in Barcelona. As women branded as disabled who share a state-subsidised flat, they must fight every day to retain their independence and find new and inventive ways – from dance to underground zines – to stop the state from managing every aspect of their lives.

Funny and furious, ‘Easy Reading’ is an indictment of the institutions that stigmatise individuals as disabled and of the language that marginalises them. It is also a portrait – visceral, vibrant, combative – of contemporary Barcelona. But, above all, Easy Reading is a feminist celebration of the body in all its forms, of female desire and queer sexuality, and of the transgressive and revolutionary power of language.

Translated from the Spanish by Kevin Gerry Du

Cristina Morales was born in Granada, Spain. She is the author of four novels and a collection of short stories. Easy Reading, her fourth novel, was awarded the Herralde Prize and the Spanish National Book Award, and became an overnight bestseller. In 2021, she was named a Granta Best Young Spanish-Language Novelist. Morales works with the contemporary dance company Iniciativa Sexual Femenina and is executive producer of the punk band At-Asko.

‘Punk rock has arrived in Spanish literature’ El Pais

‘A force of nature’ ABC

‘Offensive, playful, transgressive, hilarious, visceral, combative, brutal, and yet somehow tender… A book that shook me to my core’ Esquire

‘The most brutal, provocative and hilarious voice in contemporary Spanish literature. Like an unexpected meeting between Kathy Acker and Camilo José Cela in a gynaecologist’s waiting room. Extraordinary’ Paul B. Preciado

Winner of Spain’s National Book Award

EASY READING, by Cristina Morales
Published 24 March 2022
by Jonathan Cape, part of Vintage | £14.99 | TPB | 9781787332676

Translator Anna Crowe on Margarit’s poetry

El 11 de febrero de 2022 en Uncategorized por | Sin comentarios

Translator Anna Crowe is the co-founder of StAnza, Scotland’s Poetry Festival, her translations of the late Catalan poet, Joan Margarit, brought her a Society of Authors Travelling Scholarship in 2005. Margarit’s two final collections were published in November 2021 by Bloodaxe Books as Wild Creature. Bloodaxe have published three previous collections of his work, Tugs in the fog (awarded a Recommendation for translation in 2006 by the Poetry Book Society), Strangely Happy and Love is a Place. She has translated several books for Arc Publications: an anthology of Catalan poetry (Six Catalan Poets, Arc, 2013); a collection by the Mexican poet, Pedro Serrano (Peatlands, Arc Publications 2014); a collection of work by the Mallorcan poet Josep-Lluís Aguiló, (Lunarium, 2016); and a collection by the Catalan poet Manuel Forcano (Maps of Desire, Arc 2019), awarded a PBS Recommendation.

Crowe is the co-founder of StAnza, Scotland’s International Poetry Festival and served as Artistic Director for the first seven years, from 1998 – 2005, and subsequently on the Board of Trustees. Her poetry has been translated and anthologised, and recorded for the Poetry Archive. Figure in a Landscape was written in memory of her sister, and in collaboration with the Mallorcan artist, Andreu Maimó. It was published by Mariscat Press, and in a bilingual illustrated edition by Ensiola in Mallorca, and received the Calum MacDonald Award and was a Poetry Book Society Choice; her third full collection is Not on the Side of the Gods (Arc, 2019) and was described the poet, Stewart Conn, as offering ‘an illuminating insight into the marvels of an uncanny links between the natural world and its creatures, and the shifts of light and shade in our own lives’. She is at present working on another collaborative book with Andreu Maimó, to be called Words on the Wind/Paraules al Vent, to be published by Ensiola. She was born in Plymouth, went to school in Marseille and Sussex, and read French and Spanish at the University of St Andrews, where she lives with her husband, Dr Julian Crowe. They have three children and five grandchildren. 

  1. How would you describe Margarit poetry?

I would describe JM’s poetry as unflinchingly honest. Grief and loss are confronted courageously. He himself described his poetry to me as ‘harsh, rough, even hard’, but there is always a warmth and humanity running through it. He had no time for mystification, especially the religious kind. As he says in ‘Reasons and ways’, ‘I value what’s real: iron when it was being forged/into a nail or a plough, any feeling that I/can recognise in a clean and clear shape.’

His poetry reveals a great love and understanding of music and art, of Schubert, JS Bach, Mozart, Beethoven, Shostakovich, the French chansonniers such as Jacques Brel, Léo Ferré, Geurges Brassens, and all the great jazz musicians.

Van Gogh’s work he loved: ‘Painter of firmaments, clogs, beds, chairs/and fields of wheat that crows fly over.’ Brueghel and Hokusai, Lucian Freud, Francis Bacon, Paula Rego – all painters who paint the everyday, the disturbing, dirty, seamy side of life – these he admired. And the same goes for other poets, such as Philip Larkin, Carles Riba, Josep Carner, Baudelaire, Verlaine, Juan Ramón Jiménez, Elizabeth Bishop, RS Thomas and his beloved Thomas Hardy. Homer, above all. The Iliad is always just below the surface of Margarit’s poems, and his poetry embraces the human experience in all its plurality, strangeness and tragedy.

2. Could you tell us more about the translation process?

Listening to the sounds, the music, of a poem comes first and is of supreme importance. I carry a poem around in my head, living inside it. The translation must reflect the tone of voice, the mood of the original. I check all unfamiliar words to see if there are unsuspected nuances to be aware of. Then I think the poem through in English. The translator, to my way of thinking, should not stand in the way of the poem, or insert his or her own experience into their version. For Margarit’s poetry it has to be clear, straightforward, unpretentious English but should convey something of the rhythms and sounds, wherever possible, of the Catalan. These two languages have a certain affinity, since Catalan, like English, is a consonantal language and has a lot of monosyllabic words and words with masculine endings, so it is not too hard to find equivalent sonic patterns and rhythms. Joan told me, some years ago, ‘I discovered quite early that we sing from the same music, and from that moment on, I ceased to worry.’ He sent me his poems by email and I sent my translations back, and goodness knows how many hundreds, probably several thousands, of emails flew back and forth! He always sent me the Proa editions as soon as they were published, always with affectionate dedications. He would also send the Castilian versions, as he knew my Castilian had been learned before the Catalan and my spoken Castilian was far more fluent than my Catalan, so this was sometimes helpful in decoding an obscure word.

3. What were the biggest challenges during the translation?

The biggest challenge, especially at the beginning, was to make sure the tone was right, and the tone was often brusque and hard. As I have said elsewhere, with poetry like Margarit’s the translator has nowhere to hide. I often felt exposed and that the poetry was almost painfully bare, but the harsher and barer it was, the closer it seemed to get to the bones and the truth of the poem. Another, more amusing, challenge was persuading Joan, from time to time, of the rightness of my choice of English words or expressions unfamiliar to him. He would try to suggest something that would have been absurd or give an unsuitable nuance to the writing. Instead of using a decent dictionary, he would produce from his pocket a little electronic gadget which was a sort of dictionary, but which gave almost no clue as to context, so the suggestions were sometimes hilarious!

4. Is there any special poem that you would like to mention?

One of Margarit’s poems I love best is from Tugs in the fog, and that is ‘Goodbye to Uncle Lluís’, the uncle who died at the Teruel front in the Spanish Civil War, leaving among his few possessions a cassette player that had in it a recording of the song of a nightingale. There is something of the First World War poet, Edward Thomas, another bird-lover, in this poem whose last two lines are

He will never go back to the river

to record the night birds singing.

But from Wild Creature it would have to be ‘In the early morning’. I find this a very moving poem: the poet and his wife are awake and reading, but the poet turns off his light and lies down. He knows the time left to him is now short: 

… I know that where I am gazing

we will end up going with bare feet:

these feet of ours that have searched for each other

beneath the sheets for such a long time …

This is an intimate, tender, domestic image, but it does double duty, since it also carries the knowledge of his approaching death, and the poem continues,  linking their reading in bed to the ‘headlights on the deux chevaux’, the little car that used to take them long ago

… along tiny roads

in a world without motorways, where we had to

stop for the night when going to Paris.

The poem succeeds in being a love poem and a poem that faces up to death, as well as a poem celebrating memory and the freedom of going to Paris in the dark days of the Francoist dictatorship. We might call it a ‘bobbed sonnet’ since it is a love poem with a volta between lines 8 and 9, but has 13 not 14 lines, something that to me suggests the poet’s approaching death, the cutting short of a life. Here is the poem in full:


I have turned off my light and lain down.

You go on reading beside me.

What I’m doing is turning my back on the world,

but I know that where I am gazing

we will end up going with bare feet:

these feet of ours that have searched for each other

beneath the sheets for such a long time.

There is no gesture as warm as this.

You and I, reading in bed early in the morning,

we’re like the headlights on the deux chevaux

that used to carry us along tiny roads

in a world without motorways, where we had to

stop for the night when going to Paris.

5. Could you tell us your opinion of the breadth of Margarit’s readership in the United Kingdom?

I believe that Joan Margarit has been widely read by the poetry-reading public in the UK ever since the publication of Tugs in the fog in 2006, and Bloodaxe have of course published three more books (themselves containing two or three of his collections) since then, so sales must have been good! I know that he is greatly admired by poets of the calibre of Kerry Hardie, Paul Durcan, and Moya Cannon in Ireland, by Menna Elfyn, Professor Emerita of Poetry at the University of Wales Trinity St David, and in Scotland by the first Edinburgh Makar, Stewart Conn, and Vicki Feaver, former Professor of Creative Writing at the University of Chichester. Joan and I have read together at many poetry festivals, including here at StAnza (twice), the South Bank Festival (London), at Newcastle University, and at four separate festivals down the years in the Republic of Ireland, namely Dún Laoghaire (attended by Seamus Heaney and Derek Mahon!), Galway, Limerick, and Cork.

Parallel Mothers premieres in the UK on January 28th

El 25 de enero de 2022 en Uncategorized por | Sin comentarios

Parallel Mothers, the latest movie directed and written by Pedro Almodóvar, premieres in UK’s cinemas on January 28th. The Spanish director reunites with his muse Penelope Cruz for this moving, intriguing drama.

Two women, Janis and Ana, meet in a hospital where they are about to give birth. Both are single and became pregnant by accident. Janis, middle-aged, has no regrets and is exultant. The other, Ana, an adolescent, is scared and repentant. Janis tries to encourage her as they move like sleepwalkers through the hospital corridors. The few words they exchange in these hours will create a very close link between them, which by chance will develop and complicate, changing their lives in a decisive way.

El actor, cineasta y escritor Fernando Fernán-Gómez cumple cien años

El 5 de enero de 2022 en Uncategorized por | Sin comentarios

El actor, cineasta y escritor Fernando Fernán-Gómez ocupa un lugar de honor en la cultura española y por eso, y como homenaje, durante este enero de 2022 le dedicamos en el canal Vimeo del Instituto Cervantes cuatro sesiones en las que presentaremos «F. F. G. Un retrato» —un corto que le dedicó el crítico y cineasta Jesús García de Dueñas—; dos películas dirigidas por él —su ópera prima, «Manicomio», y «El extraño viaje», una de las obras maestras del cine español—, y «La lengua de las mariposas», en la que podremos disfrutar de una de las más recordadas actuaciones de este gran artista independiente y crítico, completo e irreemplazable. Ciclo «Fernando Fernán-Gómez cumple cien años»: https://vimeo.com/showcase/fernando-fernan-gomez-100

El Instituto Cervantes de Londres obtiene el Certificado ISO 9001 Gestión de Calidad

El 17 de diciembre de 2021 en Uncategorized por | Sin comentarios

El Instituto Cervantes de Londres obtiene el Certificado ISO 9001 Gestión de Calidad, que es la norma de gestión de la calidad más importante del mundo.  Con esta acreditación se certifica externamente la calidad de nuestros procedimientos.

Conforme a estándares internacionales, se han verificado, entre otros puntos: el gobierno corporativo del centro, la calidad de los procesos, la formación de nuestros profesores, la excelencia en la información al estudiante o usuario, la consistencia de la actividad cultural y de biblioteca, el mantenimiento de las instalaciones y su cumplimiento conforme a normativa local, etc. El informe final, además de hacer constar su opinión satisfactoria, no hace observaciones y no contempla ninguna deficiencia en la calidad.    

La obtención del Certificado ISO 9001 Gestión de Calidad es un paso muy relevante para el Instituto Cervantes de Londres y queremos agradecer a todo nuestro equipo haberlo conseguido.

Enigma Pessora, en el Cervantes Theatre

El 1 de diciembre de 2021 en Uncategorized por | Sin comentarios

En 1932, envejecido y necesitado, el gran escritor portugués Fernando Pessoa se postula para el empleo de conservador de una pequeña biblioteca-museo en Cascais, no lejos de su adorada Lisboa.

A través de las respuestas al formulario, el poeta recuerda diversas escenas y situaciones reales e imaginarias de su vida y su obra literaria, celosamente guardada en su mítico “baúl lleno de gentes”.

A partir de este revelador episodio, Enigma Pessoa explora de manera poética la fascinante figura del autor de la heteronimia a través de una cuidada selección de materiales literarios y biográficos, desde poemas, textos en prosa y cartas de amor hasta imágenes personales y de los movimientos artísticos de su tiempo.

Su candidatura al puesto fue rechazada y apenas tres años después, Pessoa falleció, solo y enfermo, sin alcanzar la gloria literaria y la profunda admiración de la que su extraordinaria obra y su entrañable persona tan merecidamente disfrutan universalmente hoy.

3 de diciembre – 7:30pm – En español

In 1932, aged and in need, the great Portuguese writer Fernando Pessoa applies to a job as a small museum library curator in Cascais, not far from his beloved Lisbon.

As he answers the questionnaire, the poet recollects certain scenes and situations, both real and imaginary of his life and works, zealously kept in his mythical “trunk full of people”.

From this illuminating episode, Enigma Pessoa poetically explores the fascinating figure of the author of heteronymy, through a carefully selected collection of literary and biographical materials, including poems, texts in prose and love letters as well asimages from his private life and the artistic movements of his time.

His application for the job was rejected and barely three years later, Pessoa died, sick and lonely, without having reached the literary glory and the deep admiration his endearing figure and extraordinary oeuvre so deservedly enjoy today.

3 December – 7:30pm – In Spanish

Special offer for our students at the European Bookshop

El 29 de noviembre de 2021 en Uncategorized por | Sin comentarios

We are pleased to announce that our students can benefit from a 10% DISCOUNT at The European Bookshop on coursebooks, literature and more! Simply visit their website and select Instituto Cervantes London (Students) to redeem online: www.europeanbookshop.com/setbooks


Your discount will be applied automatically. Click & Collect is available.


123 Gloucester Road London SW7 4TE


Mon-Fri 10:00 – 18:30

“The New Spanish A-level: Adding Science, Economics and Film-Making in Spanish” (Zoom Webinar)

El 17 de noviembre de 2021 en Uncategorized por | Sin comentarios

In this webinar we are seeking to create a new Spanish A-level, which will have three new features:
(i) A new option on “Science and Technology in Spanish”
(ii) A new option on “Business and Economics in Spanish”
(iii) A new option on “Film-making in Spanish”

Our aim is to use these three proposed changes to the curriculum of the Spanish A-level in order to improve and enhance the student’s experience when taking the Spanish A-level, and provide the appropriate framework for studying a language which is truly global in reach and significance. The rationale for these three proposed changes came out of four Opinio surveys that were held in June-July 2021 and co-ordinated by the Bulletin of Advanced
Spanish, and were presented at the Webinar on “Modern Languages: Challenges and Solutions” that was held at University College London on 14 October 2021.

The research carried out in this project has been funded by a HEIF/UKRI grant running from 15 March 2021-14 March 2022. The webinar programme is as follows:

3.30-3.50 pm Ignacio Peyró (Director, Cervantes Institute, London),
‘Global Spanish’(talk will be given in Spanish)
3.50-4.10 pm Dr Owen Williams (Post-doctoral Researcher, SELCS, UCL),
‘Film-making in Spanish: An Exemplar’
4.10-4.30 pm Dr Sander Berg (Teacher of Spanish, French and German,
Westminster School) ‘Science and Technology in Spanish:
An Exemplar’
4.30-4.50 pm David Walker (Head of Modern Languages, Kingswood
School), ‘Economics and Business in Spanish: An Exemplar’
4.50-5.00 pm Q & A with the panellists
Convenor Stephen Hart (SELCS, UCL

Aim of this webinar
In this webinar we will be drawing together some ideas on how to improve the experience of students taking the UK Spanish A-level course and exam, while reflecting on the context of Spanish as a truly global language which is spoken by more than 559 million people, of whom more than 460 million are native speakers, making Spanish the language with the second largest population of native speakers in the world. We will look in particular at three proposed innovations in the Spanish A-level, involving the introduction of new options in “Science and Technology in Spanish”,
“Economics and Business in Spanish”, and “Film-making in Spanish” into the A-level syllabus. And we will conclude with an ‘open mike’ roundtable in which you are invited to contribute your opinion, your ideas and your suggestions. This is a free event! All welcome!

How to Register via Eventbrite

How to attend
Join Zoom Meeting
Meeting ID: 922 3650 3410
More Information?
If you need more information, please email the convenor, Professor Stephen Hart at Stephen.malcolm.hart@ucl.ac.uk

Jaime Martín: “Toqué música en la calle y me sirvió para dirigir orquestas”

El 16 de noviembre de 2021 en Uncategorized por | Sin comentarios

Jaime Martín tiene calle. Por eso desprende un carisma distinto a la hora de dirigir orquestas. Posee la empatía de las aceras, tan ajena a los aislamientos y endiosamientos del podio. Fue flautista de referencia. Hoy, con 56 años, el santanderino es junto a Gustavo Gimeno el director español más internacional: titular de Los Ángeles Chamber Orchestra, la RTE National Symphony de Irlanda, la Gavle en Suecia, que dejará para hacerse cargo a partir de 2022 de la Sinfónica de Melbourne en Australia y principal director invitado de la Orquesta Nacional de España (ONE). Todo el mundo quiere trabajar con él. ¿Por qué…? Lee la entrevista en El País

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