The Representation of Speaker Lyrical in Francisco Hernández’s Moneda de tres caras

Abstract

In contrast to the extensive body of scholarship that has read Francisco Hernández’s Moneda de tres caras (1994), first through the concept of the mask poem and, second, as a collection of three texts, I propose a critical reading grounded in the notion of speaker lyrical. This approach aims to demonstrate that the new arrangement of the work in En grado de tentativa. Poesía reunida. Vol. I (2016) invites a more suggestive appreciation. That is, it becomes possible to interpret the book as a single extended poem, primarily due to the enunciation of a unified subject, since a body and a particular metafictional consciousness unfold across the three sections, delineating the stages of an intensifying mental disorder.