Guillermo Cabrera Infante y las variantes del poder en el ámbito religioso de La Habana de los cincuentas

in a trilogy of short stories titled delito por bailar el chachachá (1995), the cuban writer guillermo cabrera infante evokes once again, from his lengthy exile, la habana de los 50. his narrative intention goes beyond the conflicts between characters, in order to wallow in a splendid description of the cultural and social status of the city in which his stories elapse. la habana is seen through his geography, customs, myths, beliefs and system of rules and prohibitions. the essential point of these narratives is not so much what they intend to convey, but rather what they recall, recover and even reveal of that city that is slowly disappearing. the present article examines only one of the stories that encompasses this trilogy;"el gran ecbo", where the previous aspects are clearly palpable, and where you can delve into the intricate networks that support the syncretic island culture. parallel to the thematic focus of the author, this work highlights the valuable use of contemporary literary techniques with which cabrera infante builds a city undergoing transformation, in which modernity, with all his energy, can not erase the forces of the past.