Cuban poetry tends to be plural, diverse, and dispersed during the turn of the twentieth and twenty-first centuries. Some of the characteristics of the most recent Cuban lyrical writing are related to those authors that were censored by the government during the 60s and the 70s in the island, such as Lina de Feria, Delfín Prats, Isel Rivero, Heberto Padilla, and Reinaldo Arenas. Some of these poets broke the artificial and political (not literary) division between the conversational style and the subjective style. They denounced official communitarianism and the violation of private space. Their poetical tone and their existentialist discourse foreshadow fin de siècle insular poetics. The young Cuban poets that were born from the 70s are very pluralistic. In general, they avoid any affiliation. Their poetry questions the political and cultural tradition. Religiosity, (homo) eroticism, existentialism, metalinguistic concerns, culturalism, irreverence, ahistoricism, and revision of the patriotic traditions are some of the main thematic lines within turn-of-the-century Cuban poetry.


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pp. 275-295
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