Las Tunas.- The cultural magazine Quehacer returns with its number 0, an edition that after several years of absence arrives in digital format to remain faithful to the imaginaries that it collected in its pages as a supplement or under multiple artifices to remain undefeated until 2015.

The dream is reborn from the Provincial Directorate of Culture and the Provincial Book and Literature Center with a cover that exalts the image of the Vicente García González Museum, with a restored façade as a result of a first stage of renovation of the building that already has a century of life

An initial glimpse invites you to approach illustrious personalities of the territory from the titles: Faure Chomón, tunero de ascendencia martiana; Un nombre en las últimas palabras: Vicente García (dedicated to Víctor Marrero); Un niño-príncipe se despide (it is about the writer Pablo Armando Fernández), and ¿Por qué volver a la poesía negra de Guillén?

Likewise, the call for the national children’s literature contest Principito and fragments of the unpublished novel Monela, by Alejandro Rama, which will be published by Sanlope, along with images that advance the visuality of other productions of the territorial publisher, stand out.

Poetry and music also lend their colorful hand. The first from the song to the bicentennial city in the verses of young people and consecrated people of the patio, and the other in the scriptural exercise of Raúl Leyva: Controvando and Un leñador llamado tiempo, which alludes to the good brotherhood of troubadours that this land houses.

The Word of Humor supplement is added to the delivery, by the Circle of Graphic Humorists of the press in Las Tunas, with works by Antonio Medina Segura (Antoms), María Sao (María D’Antoms), Raúl Leyva and Yanely Rodríguez Escamuchero .

As a whole, Quehacer exhibits a visuality endorsed by the excellent photography that recreates common places of the city and its people, and pieces of the visual arts of the best exponents of the Cuban East Balcony, which also go through the snapshot, the painting and the sculpture.

It is in the efforts of its creators, continuing the need to collect the main historical-cultural fruits, that the publication reaches its age of majority with solidity and permanence, although this time from a digital age that would not deny the charms of printed sheet.