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Abstract

In this short essay, read as a presentation of his recently published novel, Pandemónium, Edgardo Rodríguez Juliá, author of La noche oscura del Niño Avilés, tells us about the eventful editorial history of these novels which, along with Camino de Yyaloide, make up his trilogy Crónicas de Nueva Venecia. This presentation narrates how the author, by re-reading of some passages of Pandemónium, published forty-four years after it was written, gradually discovered affinities between his writing and the paintings of Rafael Trelles; how, through the art of this great Puerto Rican artist, also a member of the Puerto Rican Academy of Language, he was guessing, «figuring himself out», so to speak, the «semblance»: of Niño Avilés, that possible iconographic banner that is well fulfilled on the beautiful book cover.