Exorcismos de esti(l)o is one of Guillermo Cabrera Infante’s least studied books. It is nevertheless of essential importance for understanding the entirety of his poetics. It is a book that condenses the pain of the ostracism and the betrayal inflicted by the revolutionary regime that Cabrera had so strongly supported. The purpose of this article is to highlight the implicit elements of the text that support this hypothesis. It considers the strategies used by the author throughout Exorcismos de esti(l)o to practice the language with which he obsessively tries to draw, in his novelas del yo, a portrait of a lost and unrecoverable Havana, the hopeful Havana preceding the Cuban Revolution. It is an impossible yet obstinate mission. This is why the texts that articulate the impossibility of representation and the anguish that this mission generates deserve special attention.
