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It has been argued that Ángel Escobar's (1947-1997) poetry rejects a referential connection with real space, like most Cuban poets whose first important works appeared in the 1980s. Yet several strategies that configure a polyvalent and dystopian image of Havana can be traced throughout Escobar's books. I propose an analysis of the logics of spatial syntax in the author's poetics, taking into account the rhetoric and thematic repertories associated to urban space, as well as the references to the visual arts and the main isotopies that converge upon the representation of the "filthy" and "rotten city" of the end of the century. [ABSTRACT FROM AUTHOR]