Piñera, Virgilio

▪ Cuban writer

born August 4, 1912, Cárdenas, Cuba

died October 18, 1979, Havana

      playwright, short-story writer, poet, and essayist who became famous for his work as well as for his highly bohemian lifestyle. His life was one of his most outrageous creations.

      Piñera's father was a railroad engineer, and his mother was a schoolteacher. He attended the University of Havana but refused to defend his dissertation before a “bunch of donkeys.” Thereafter, he found it difficult to find suitable employment and sometimes was forced to rely on family and friends for financial support. Piñera was not one to belong to literary groups or to associate himself with artistic and philosophical movements, and his frequent troubles with Castro's regime came as a result of his irreverence and refusal to follow a party line.

      Piñera was better known for his avant-garde theatre, such as the play Electra Garrigó (1943), than for his poetry or short stories, though his admirers recognized him as a master of the latter. His best collections are Cuentos fríos (1956; Cold Tales) and Pequeñas maniobras (1963; “Little Maneuvers”).

      In the 1950s Piñera lived in Buenos Aires, where he came to know Jorge Luis Borges (Borges, Jorge Luis), and his work was published in the prestigious journal Sur. This period in Argentina—encompassing his friendship with Borges and others in Buenos Aires, including the exiled Polish writer Witold Gombrowicz (Gombrowicz, Witold)—was an influence on his work. Piñera returned to Cuba after the triumph of the revolution in 1959. But in 1961 he was jailed for “political and moral crimes.” After his eventual release, he went on living as a marginal figure with few defenders among those in power, although in 1969 he did win Cuba's most important literary award, the Casa de las Américas Prize, for his play Dos viejos pánicos (“Two Ancient Panics”).

      Piñera's stories blend the fantastic with the grotesque, with touches of paranoia, and even with madness. The world seems to collapse on his protagonists, who resort to drastic measures, such as that taken by the main character in "Carne" ( "Meat" ) who progressively eats himself to avoid starvation.

Roberto González Echevarría

 

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