Those Cubans who have stayed behind and endured—and endurance has certainly been required!—the vagaries and adversities of the Cuban post-revolutionary experience tend to write from the point of view of within, inside, whereas these other writers tend to offer their readers a view, informed as it may be, from without, looking in, and back at the island.
Boyd’s work is extremely competent, smart, well-wrought in every way, with fine writing too. Boyd is particularly masterful at employing very short sections to quickly establish and deftly and economically build up his narratives. Some of these stories are composed of paragraph-long sections representing distinct points of view that together produce a sort of pastiche of sensory data and information, and in this way lay out the drama involved.
It is a world of true revolutionary fervor and desperation in this country that McGrath recreates in the short space of sixty-one pages, as well as visceral and ideological animosity—the kind people are willing to kill and die for—towards the English masters, a time when Americans (that is, North Americans, or estadounidenses) were treated with the same brand of disdain that the European descendants in this country tend to reserve now, for example, for Latin Americans.