In the post59 cultural dynamics, Virgilio Piñera’s literary production is singular. The somewhat fractious spirit with which he assumed the relationship with his effervescent cultural environment and which characterized his work refers to it. Occasionally Kafkaesque, the abject, the carnal-image that attracted him and the impact of the insular condition, provokes a singular personal imaginary diluted in the Cuban.
In “Isla de carne” emerges precisely from that surreal vision that more than generating definitions provokes questions, the trembling flesh subjected to the ups and downs of history and the interpretations of time.