Arte, literatura y feminismos. Lenguajes plásticos y escritura en Euskal Herria

could be seen as just a glossary, exposes an epistemology rooted in oscillation and movement, and thus clearly opposed to Trelles, Le Roy and Lamar Schweyer’s. Also worth highlighting are the sections devoted to Virgilio Piñera in Chapters five (“1957: A Moment In and Out of Life”) and seven (“1965: Post-liminal Cuba”). In both cases, Fay’s close reading of short stories (“El viaje” and “La rebelión de los enfermos”) is astute, and successfully articulates how literature can contribute to meaningful debates on identity. The author also deftly analyses how Piñera—unsurprisingly a liminalist—avails of an absurd narrative to articulate his opposition to an increasingly prevalent discourse of absolutes, unanimity, perfectibility and teleology. Stephen Fay’s Liminality in Cuba’s Twentieth-Century Identity is a thought-provoking study that offers many novel insights which would be of benefit to academics interested in debates on Cuba’s identity. Given its gender and racial bias, however, hopefully either Fay himself or another scholar will complement this interesting study with a similar one focused on Afro-Cuban and female analyst-authors.