La celebración en el borde existencial:

Abstract

The article examines Los cuentos de Juana (1972) by Cepeda Samudio, articulating Caribbean neobaroque and the theory of the "Caliban bite" to reveal how its narrative dismantles colonial paradigms. Through a poetics of the grotesque and carnivalization, the work subverts canons, transforming celebration into an act of epistemological insubordination. Its experimental fragmentation and linguistic polyphony challenge generic taxonomies and hegemonic value systems, affirming a hybrid Caribbean identity. The analysis demonstrates that Cepeda's aesthetic innovation is not merely a formal break but also traverses the political resistance embodied in the textual materiality.