Linked by a tone, a rhythm, a vision, these poems shelter all sorts of objects, much like Isla Negra, Pablo Neruda's house in Valparaíso: they speak of that same house of Neruda's, as well as of María Sabina; they describe sculptures from ancient Greece and a Teotihuacan mural; they commemorate birthdays and farewells—all always guided by the guiding thread of a poetic gaze that seeks what lies "on the other side of itself."

Through the play with a few elemental images—sun and shadow, the sea, the moon, the mountains—the verses of Isla Negra, which possess a heightened musicality, sometimes seem to exhaust the limits of the concrete, as if they wished almost to touch the immaterial and to be on the verge of dissolution.