Los Signos al Infinito. Una lectura de la poesía de Octavio Paz. Edición Alfredo Zaldívar. Diseño y realización Hiram Aguilar, etc.

Stapled paperback, cover attached with a string. Mimeographed text on low-quality paper. Cardboard covers decorated with watercoloured scraps of paper, torn out and pasted. Portrait of Paz by the author. Number 40 of 200 copies. 6 copies in WorldCat. The Vigías from these years of the 'special period' are usually the poorest of all Vigía publishing production, and this edition is among the extremely poorest: the paper used is frankly bad, and not even uniform; the text is framed but with an irregular hand-drawn line, very; the stencils are, as usual, very worn, but on p. 20 there is a scribble in the form of a crossing-out that is incorporated into the stencil; the cardboard of the cover is coarse; the cover design (which is reproduced by mimeograph on the front) is (and I can't find a better term) shabby. Overall, it is a shabby, poor, grunge, and punk aesthetic. A faithful reflection, perhaps, of the extremity of those years in Cuba, suddenly deprived of its Soviet support, and at the mercy of the blockade and the obvious weaknesses of the Castroist economic system. At the same time, it is a demonstration of the indomitable Cuban spirit: in times of poverty, hunger, and crisis, poetry books continue to be published, these extraordinary editions, here on the work of a Mexican poet, continue to be created...