Los poemas de este libro recrean el renacimiento del Amor, mediante un "diario de poemas" que se integra plenamente a la gran tradición de la poesía amorosa en castellano. "Hay a través de los poemas que componen el texto total, una continua alusión a versos, poetas, pintura y entorno cultural desde la poesía medieval, pasando por Herrera, Calderón, Quevedo, hasta Apollinaire, Sade, Masoch, Neruda., etc. Pero es en el barroco literario donde la mirada y el estilo se centrarán con mayor vigor y brillantez. El libro está dispuesto como un diario de poemas que registra la relación del sujeto hablante, en lo que tiene de percepción ante el referente, y a cierta necesidad de remitir la experiencia erótica a la literatura. El lenguaje combina resonancias verbales del barroco literario español, con el lenguaje llano, que puede llegar al improperio". (Ricardo Yamal)
Enrique Lihn Carrasco was a Chilean poet, playwright, and novelist. The son of Enrique Lihn Doll and María Carrasco Délano, he married Ivette Mingram and they had one daughter: Andrea María Lihn Mingram, an actress.
Born in 1929 at Santiago, Chile, Lihn aspired to be a painter but after a failed attempt during university, he abandoned that dream to pursue writing. Lihn proceeded to develop into a poet, playwright, and novelist. He taught literature at the University of Chile. Lihn views both the past and the future as forms of death, and his emphasis on this point is evident throughout his literary works. His work revolved around his contempt for the contemporary dictatorship, as Chile was governed by a military junta. Works layered with social, political, and religious commentary are common throughout Lihn's canon. His final book, Diario de Muerte was written in the six weeks preceding his death from cancer in Santiago, and the evening before he died, he corrected the proofs.