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CALLALOO

CULTURAL MESTIZAJE IN THE ESSAYS

by Flora M. Gonzlez

In the following pages, I explore the critical work and essays of the eminent AfroCuban poet Nancy Morejn (born in Havana 1944) as a gesture of mediation between
the Afro-Cuban heritage (with its strong female contributions) that she fervently
upholds and a Castro revolutionary mandate constricting the space available for
discussions and considerations of race.1 Castros much-quoted words are: Within the
Revolution everything, against the Revolution nothing (quoted by Luis in The
Politics 35). Because in the new socialist revolution racism could not exist, discussions of race could not be tolerated. I argue that Morejn, within her fervent support
of the revolution and need to gain status in its context, finds numerous if subtle ways
to discuss race and to celebrate her African and feminine heritage by conflating
Nicols Guillns concept of mestizaje and Jos Lezama Limas concept of the imago.
Edward Mullen compares Morejn to Langston Hughes because they are both
important cultural mediators.2 Who, one asks, explained so well to African Americans their position in American society as Hughes did in The Ways of White Folks
(1931)? What Latin American writer has captured with such powerin so few lines
both the history of a nation and a sense of self and womanhood as did Morejn in
Mujer Negra (4)? According to Linda S. Howe, Morejn, as an intellectual of
cultural production, responds with mechanisms and manners of speaking that
simultaneously appear to be outside of, as well as within, the boundaries of cultural
expression. Her ambiguous metaphors leave her intentionality up to the reader (The
Fluid Iconography 33). Howe describes a constant tension in Morejns work that
produces both politically committed poems and hermetic poems (32). This tension is
particularly present in her poems and essays during the first fifteen years or so of the
revolution, years marked by intolerance toward intellectuals. Examples are the
censorship of Orlando Jimnez Leals film P.M., about the night life of Afro-Cubans,
and the closing of the El Puente publishing house and group to which Morejn
belonged and where she published her first two books (1965). Finally, these years
were marked by the famous Padilla Affair in which Herberto Padilla was jailed in 1971
for his controversial collection of poems Fuera del Juego that was published in 1968
(Luis, The Politics 35). According to Howe, a group of Afro-Cuban intellectuals met
during the 1960s to discuss issues of race and to draft a Black Manifesto to be
delivered at the opening of the World Cultural Congress in January 1968. Morejn did
not belong to this group, but those who did were chastised and not allowed to attend
the congress (Howe, Nancy Morejns Womanism 15964).
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Starting in 1975, with the First Congress of the Communist Party, there is an
opening of sorts, marked by Castros new relationship to the exiled community in
Miami. This opening serves as an opportunity for a young Afro-Cuban artist like
Mara Magdalena Campos-Pons to create feminist iconography, but this artistic
generation of the 1980s finally opts for leaving the country (see the essay by Flora
Gonzlez on Campos-Pons in Cuban Studies). After the collapse of the Soviet Union,
the Fundacin Pablo Milans promoted many black intellectuals and artists, but it too
lasted only two years (199395). In 1993 Morejn left Casa de las Amricas to become
an editor at the Fundacin, but she later returned to Casa. Howe states that Morejns
desire to work with the Pablo Milans Foundation demonstrates her determination
to effect change in Cuba (Howe, Nancy Morejns Womanism 164). Overall, AfroCubans who remain in Cuba, like Morejn, are critical of times from the sixties to the
nineties, when the institutional government supports black independence movements around the world, yet does not allow its black intellectuals to speak openly
about their Afro-Cuban identity (Howe, Nancy Morejns Womanism 15964).
I agree with Howe that Morejns ambivalent intellectual attitude may be seen as
a personal survival mechanism given the fact that she has chosen to continue living
in the country. Her ability to survive and to continue producing throughout the years,
always managing to uphold her integrity as a woman and as an Afro-Cuban may be
controversial, but it shows her to be an excellent mediator between her culture and her
national identity. When speaking about the Cuban liberator and poet Jos Mart, the
poet, critic, and editor Cintio Vitier describes Latin Americas version of the committed intellectual whose criticism takes place in the sphere of intellectual and artistic
creation itself (248).3 In this context, Morejn follows within the critical tradition of
Jos Mart, and among her more immediate predecessors, of Nicols Guilln and Jos
Lezama Lima. Although at face value these two great poets and thinkers appear to
have produced contradictory versions of Cuban cultural identity, they, like Morejn,
display a critical conscience inherent in their artistic pursuit. In what follows, I focus
on Morejn as cultural critic, an aspect of her work less well known than her poetry.
Nancy Morejns poetry has been consistently acclaimed and warmly received by
national and international readers alike.4 Her selected poems gained international
recognition in 1985 with the publication of the bilingual anthology Where the Island
Sleeps Like a Wing by Black Scholar Press. This collection drew attention to the poets
concerns with placing women of the African diaspora at the center of the Caribbean
and Cubas historical memory. Her two most read and analyzed poems are Mujer
Negra [Black Woman] and Amo a mi amo [I Love My Master]. Other equally
important poems depict the black working-class family as a haven for the poet during
times of historical upheaval (La cena [The Supper]), racism inherent in U.S. society
(Un Manzano de Oakland [An Oakland Apple Tree]), and postcolonial struggles
throughout the world (En El Pas de Vietnam [In the Country of Vietnam]). The
collection, translated by Kathleen Weaver and endorsed by such prominent figures as
Fernando Alegra, Audre Lorde, and Alice Walker, among others, pointed to Nancy
Morejn as a distinguished revolutionary poet.
Her sustained work as a poet, translator, and cultural critic culminated in 2001 in
the honor of receiving the Cuban National Literature Prize. In her acceptance speech
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Morejn expressed the following: He buscado sin tregua darle voz a un coro de voces
silenciadas que, a travs de la historia, mucho ms all de sus orgenes, su raza o su gnero,
renacen en mi idioma. . . . Me ha importado la Historia en letras grandes y me import la
historia de abuelas pequeitas, adivinadoras, las que bordaron el mantel donde coman sus
propios opresores. Historia de ltigo, migraciones y estigmas que llegaron por el mar y al mar
vuelven sin razn aparente [Without respite, I have looked to give voice to a choir of
silenced voices, which, throughout history, way beyond their origins, their race, and
their gender, are born in my idiom. . . . History in capital letters has been important
to me, and the history of small grandmothers was important, women prophets, the
ones who embroidered the tablecloth where their own oppressors ate. A history of the
lash, of migrations and stigmas that came by the sea and to the sea they return without
apparent reason].5 With this statement about giving voice to those who have been
silenced, Morejn joins the Latin American tradition of prophetic poets, including
Pablo Neruda, Nicols Guilln, and Claribel Alegra, among others. But she additionally emphasizes the silent histories of women whose domestic labor enhanced the
lives of their oppressors, but who also established a silent tradition of creativity under
duress. This tradition of womens labor has been lauded by many African diaspora
women writers, including Alice Walker. Linda S. Howe, considering whether Morejn may be classified as a feminist for her emphasis on womens issues, states:
Morejn enlarges the context and, at the same time, reshapes the tradition of
Caribbean protest discourse to embrace the Afro-Cuban womans perspective. In this
sense, we might say that a womanist approach, for Morejn, constitutes Black women
controlling their own history and culture (Nancy Morejns Womanism 156).
Several critics of Morejns poetry have pointed to the tension in her work between
Black Womans History and the domestic and intimate history of women from the
African diaspora: There is always in her work that creative tension between the idea
and the image, between the demon and the flower, between poetry that is socially and
politically engag and poetry that is deeply, profoundly lyrical (DeCosta-Willis 1).
Most interestingly, DeCosta-Willis pinpoints the tension between idea and the
image. Morejns importance in Cuban letters encompasses both her work as a
cultural critic and as a poet: Her prose works gave her the opportunity, literally, to
write herself into the official discourse of the 1970s. Her essays and books (Pjaro and
Recopilacin); her affiliation with institutions such as UNEAC (the Cuban National
Union of Writers and Artists) and Casa de las Amricas; the support of influential
writers and intellectuals, such as Nicols Guilln and Mirta Aguirre; and the publication of more politically oriented poems, such as En el pas de Vietnam and Mitologas,
allowed Nancy Morejn, figuratively, to sing herself out of literary silence (DeCostaWillis 1011). Although Morejns role as international poet began with the publication of her anthology by Black Scholar Press, her role as a major literary figure in Cuba
came as the result of her work as a journalist and literary critic. After a period of poetic
silence between 1967 and 1979 (Howe, Nancy Morejns Womanism 162), when her
poetry found no venues for publication, her Nacin y Mestizaje en Nicols Guilln (1982)
[Nation and Mestizaje in Nicols Guilln], which won the UNEAC prize for the
Enrique Jos Varona essay in 1980, propelled her into the national cultural scene.

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Morejns critical work on Nicols Guilln allowed her to express her ideology as
deeply rooted in the concepts of mestizaje and transculturacin developed by Guilln
and Fernando Ortiz, respectively. In this critical essay, as well as in her shorter,
cultural pieces, Morejn follows a long tradition of Latin American intellectuals from
Carlos Maritegui to Juan Marinello, who formulated a critique of the concept of
culture. In his essay Literary Criticism in Spanish America, Anbal Gonzlez points
to a decided tendency to organize their works around the history of culture. Their
interpretation of literary works was usually contextual, designed to show the links
between literature, culture and society (451). In her own journalistic essay Comentando Quirn o del Ensayo, Morejn asserts that in writing Nacin y Mestizaje she
drew on sources from literature, history, and sociology to formulate her own essays
(Fundacin de la Imagen 193).
I argue that Morejn writes essays to formulate her history of ideas that advances
a coherent image of Cuban culture as hybrid, including European and African
influences in equal measure, and that relegates concepts of race and gender to a
secondary plane. This emphasis on hybrid culture informs her seemingly unwavering
support of the Castro revolutionary agendawith its Marxist class analyseslinking
economy and culture in the same manner as Fernando Ortiz did in his coining of the
term transculturation in 1940. This is particularly the case with Morejns cultural
criticism of the 1970s and 1980s. In the 1990s she begins to reconsider her concept of
race and self-identity in ways that were self-censored in her earlier writing.
Besides her essays on major Cuban writers, artists, and musicians, written for such
Cuban cultural journals as Casa de las Amricas, La Gaceta de Cuba, and Unin, in the last
two decades of the twentieth century her writing ranges widely, including UNEAC
prize speeches, reviews of art shows, the promotion of the writing of contemporary
or younger writers and artists, cultural criticism on Caribbean masters, and a personal
account of her trip to South Africa.6 Like Jos Mart before her, Morejn endeavors to
define national culture as highly refined end products of a laborious and deliberate
historical process (Anbal Gonzlez describing Mart 439). In my analysis, Morejns
essays fall into two stages, based on her necessity to establish herself as a cultural
figure first in the cultural environment in the 1970s when writers had to contend with
Fidel Castros Words to the Intellectuals and second as an internationally known
poet and critic. 7 The first stage includes her essays written between 1969 and 1984 and
anthologized in Fundacin de la Imagen in1988 [Foundation of the Image] as well as her
critical book on Nicols Guilln. The second stage displays a greater diversity of
topics and a freer disposition to engage issues of race and gender. Most of these essays
hint at her own invisibility as a black woman writer (Howe, Nancy Morejns
Womanism 157), notwithstanding her recognition as a cultural writer and an internationally known poet.
Morejn develops her idea of the poetic image, in both essays and poetry, under the
tutelage of Jos Lezama Lima (and evidences even more Nicols Guilln influence).
I use her essays on art, in conjunction with the study of one of her poems from the 1993
collection Paisaje Clebre [Celebrated Landscape] to establish Morejns indebtedness
to Lezama Lima as she defines her mature poetic image. I begin by presenting the
essays that contribute to her definition of national culture after the 1959 revolution
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and continue by analyzing a poetic image closely allied to intimate pictorial renditions that reveal a highly guarded subjectivity in her poetry. Throughout, I suggest
that Morejns tension between idea and image represents a survival strategy of sorts
for a black woman poet who sought a place in Cubas cultural landscape, with its
highly prescribed cultural exigencies. She did not present a profile of ambivalence
toward the nation, yet ambivalence is embedded in her work.
Fundacin de la Imagen, a title that reflects Morejns indebtedness to Jos Lezama
Lima, collects short journalistic essays published elsewhere from 1969 to the mid1980s. In her essay on Lezama, published first in La Gaceta de Cuba in 1970 and
subsequently in Fundacin (13549), Morejn extrapolates her own definition of the
Cuban essay: La metodologa del ensayo por qu no ha de nutrirse de recursos de otros
gneros literarios, de otros modos de abordar el pensamiento lgico? [The essays methodology, why should it not nourish itself on the means of other literary genres, on other
ways of approaching logical thought?] (148). Citing Hans Magnus Enzensberger, she
defines the essays methodology as multiple, including momentos de reportaje y de la
autobiografa [moments of reporting and autobiography] (148). In her analysis of the
works of Lezama, Juan Marinello, Mirta Aguirre, and Luisa Campuzano, Morejn
advocates an interdisciplinary essay form, agreeing with Campuzano that Cubas
tradition of the critical essay erases differences between the literary and the nonliterary, in that the literary takes into account historical and political considerations and
methodologies (Fundacin 19197).
In her essays on the antislavery novel, on the Cuban essay, or on Caribbean
literature in general, Morejn advances her own ideas about mestizaje, the African
diaspora, the value of popular literatures, and her apprehensions about feminism in
her contemporary context. In these early essays Morejn tends to make pronouncements about a subject by relying on the ideas of well-established intellectual figures
in Cuban letters. On feminism, for example, Morejn states: Mirta Aguirre no propone
una cultura femenina en Amrica, sino, por el contrario, una cultura americana en donde la
igualdad de derechos entre el hombre y la mujer ya haya dado paso a la liberacin poltica que
condujese a una sociedad ms justa [Mirta Aguirre does not propose a feminine culture
in America; on the contrary, she proposes an American culture where the equality of
human rights between men and women has already given way to a political liberation
that would lead to a more just society] (Fundacin 91). This quotation illustrates how
Morejn refuses to consider issues of gender in isolation; rather, she places the
equality of women within a larger political and human-rights context. In so doing she
differentiates her ideas regarding womens rights from those of Western privileged
women and aligns herself to the struggles of women throughout the world who must
consider the economic and social constraints that limit their lives. She also wishes to
distance herself from what may be considered bourgeois movements in the United
States in particular.
As cultural critic, Morejn constructs a complex idea of Cubanness that integrates
the history and experience of its Afro-Cuban citizens, always mindful of their
systematic exclusion, starting with the first conceptions of nation in the nineteenth
century by thinkers such as Jos Antonio Saco, among others: Cuba sera blanca y
podra comenzar a ser cubana [Cuba would be white and could begin being Cuban]
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(Fundacin 24). The relationship between being Cuban and being white excluded all
others who were brought to the island as slaves and indentured servants. According
to Morejn this exclusion can now be rectified as a consequence of the revolutionary
changes that have been taking place in the nation since 1959. In her essay on Cecilia
Valds, written in 1979, Mito y realidad en Cecilia Valds (Fundacin 928), Morejn
states: En el caso de Cuba, la Revolucin socialista ha determinado de modo difono y tenaz
una vocacin decidida a encontrar y proclamar las ms legtimas races de nuestra identidad
[In the case of Cuba, the socialist revolution has determined in a diaphanous and
tenacious way a decided vocation to find and proclaim the most legitimate roots of our
identity] (15).
This essay serves as an example of how the author can begin with a literary topic
and dedicate most of her writing to a historic, sociological, and economic analysis of
the basis of Cuban culture starting in the nineteenth century: La espina dorsal de Cecilia
Valds nos servir de fuente nutricia para mover ideas [The backbone of Cecilia Valds
will serve us as a nutrient source for promoting ideas] (Fundacin 10). For Morejn, as
for other critics of this foundational antislavery novel, the myth of Cecilia Valds
represents the nation defined in terms of a monocultural economic system deeply
dependent on slavery. Slavery, in turn, supports the Spanish colony whose society can
be construed as a pyramid, with the slaves at the bottom and with white Creoles and
Spaniards who partly control production and commerce at the top. According to
Morejn, even though Cecilia Valds does not occupy the lowest rank of Cuban
society, she represents its weakest link because Cecilia no quiere ser Cecilia [Cecilia
doesnt want to be Cecilia] (Fundacin 17). The light-skinned mulatta does not want to
be who she is, because like all Cubans who wish to ascend the social pyramid, she does
not wish to be associated with the black slave who, in the worst sense of colonial
dehumanization, represents nothing more than merchandise. Cecilias human desire
for a better life necessarily alienates her from her ancestors who, as Africans, are
devalued in the emerging nation. The colonial system thus sets up an equivalency
between a class struggle and a race struggle.
At the root of the novels social construction, in Morejns view, lies the practice of
blanqueamiento (whitening), wherein the weight of bettering the race falls entirely
on the mulatta. Thus, Cecilia grows up with the imperative of marrying a white man
because she is three generations removed from her African great-grandmother. The
message of alienation, to refuse to be black, to be Cecilia, gets passed down from
generation to generation in a family unit of absent white fathers who deny their
mulatta daughters their paternal name, and of mothers who are increasingly lightskinned. By the end of the essay, Morejn has tied sex to alienation, incarnate in the
figure of Cecilia Valds. She concludes that even within a revolutionary society there
are vestiges of the racism consciously rooted in the concepts of class and race.
Throughout, Morejn subsumes issues of race and gender to class analysis, yet the
implicit, overwhelming message of alienation based on the coincidence between
slavery and the nineteenth-century concept of race foregrounds the function of racism
in Cubas past and present cultural landscape. The ultimate topic of the essay, the
alienation of the black female subject perpetuated by an alienated family structure
within a slave society, propels Morejn, the poet, to counter with the creation of an
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alternative female subject who, unlike Cecilia, hates her masters and rebels against
them and their social constructions. Mujer Negra [Black Woman], Amo a mi amo [I
Love My Master], Obrera del tabaco [Woman in a Tobacco Factory] and La cena [The
Supper], give back integrity to contemporary black women who grow up nurtured in
a black family where mother and father shelter their children against social and
political strife.8
Quietly and skillfully, while Morejn subsumes race within class in her essays, she
foregrounds the issue of race in her poetry about black women. Even though Morejn
often evades the issue of race in her early essays, in a personal statement published
by Afro-Hispanic Review, in an issue solely dedicated to the poet in 1996, she affirms:
La originalidad que puede apreciarse en mis poemas, creo, proviene de mi condicin de mujer
y de mi condicin de negra. Ambas condiciones han suministrado una substancia muy especial
a todo lo que he escrito en el transcurso de la convulsin poltica que todos ustedes conocen
[The originality that may be appreciated in my poems, I believe, comes from my
condition as a woman and my condition as black. Both conditions have added a very
special substance to all that I have written in the process of the political convulsion
that all of you recognize] (Las poticas 7).
Intrinsically tied to Morejns analysis of Cuban identity based on class stands her
reevaluation of Caribbean culture as influenced by the popular sectors of society.
Particularly in her essay about Juan Marinellos analysis of Jos Marts works
(Fundacin 6877), Morejn emphasizes Marts renewal of the Spanish language
rooted in popular traditions: Slo el habla, el contacto radiante con el habla del pueblo,
podra salvarlo [el lenguaje] de una muerte lenta, pero segura. Amrica, mediante la prosa de
Mart, infusion buena parte de la sangre de esa vitalidad popular tan necesaria [Only
speech, the radiant contact with the speech of the people, could save it [the Spanish
language] from slow and certain death. Amrica, through Marts prose, infused a
good portion of the blood of that popular vitality so necessary] (La huella de Espaa
en Juan Marinello [Traces of Spain in Juan Marinello] (Fundacin 75).
Like Mart, Nicols Guilln enriched his poetic idiom with the popular language
of blacks in Havana, as well as with the Hispanic traditions of the Romancero. Guillns
incorporation of the rhythms of the son, with its roots in African and Hispanic musical
traditions, makes him an innovator in Cuban letters at the formalistic level. Also of
interest to Morejn is the poet laureate placing his poetry at the service of Cubas
working class: La cubana de la obra de Guilln, pues, no reside, exclusivamente, en haber
trado el son a categora literaria o potica. Creo que esa incuestionable cubana hay que
aprenhenderla, de otro modo, en los contenidos a que alude su poesa de manera total, cuando
pone muchos de sus temas al servicio de las esencias ms puras del alma popular [The
Cubanness of Guillns poetry, then, does not reside exclusively in having brought the
son to the literary or poetic category. I believe that this unquestionable Cubanness
must be understood, in another sense, as the content to which his poetry alludes in
totality, when he places many of his themes at the service of the purest essence of the
popular soul] (Mirta Aguirre y su Ayer de Hoy [Mirta Aguirre and Her Todays
Yesterday] (Fundacin 86). Through Marinellos conception of Marts language and
Aguirres analysis of Guillns genius, Morejn defines the Cuban writer in terms of
his enriching the Spanish language with the ingenuity of popular speech and in terms
of placing his gift with language at the service of the people. 9
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In the 1982 publication Nacin y mestizaje en Nicols Guilln [Nation and Mestizaje
in Nicols Guilln], Morejn maintains Guillns uniqueness as a national poet
because for him the concept of nation cannot be imagined without cultural mestizaje,
without the integration of Spanish and African roots as they coexist and transform
themselves in the Antillean context. According to Morejn in Nacin y mestizaje, for
Guilln, poetic expression demands the transformation of language to incorporate the
idiom of the black popular sector, as well as a revolutionary attitude toward aesthetic
considerations to encompass social and political dimensions (Nacin y mestizaje 213).
Because in his early poetry, Motivos de Son in 1930, he addresses black people with
their language and their internalized racism, Guilln takes on the systematic undermining of cultural contributions by the Afro-Cuban in the gestation of the Cuban
nation (Nacin y mestizaje 99). According to Morejn, Guillns avant-guard poetry
responds to the anti-Machado revolutionary movement in Cuba during the 1930s,
with its mobilization of the working class in the political arena. His emphasis on
mestizaje grows out of an Afro-Cuban journalistic tradition in the early decades of the
twentieth century, which, under the leadership of Gustavo Urrutia opened up a
fruitful dialogue about the black problem. Prominent figures such as Juan Gualberto Gmez advocated equality of the races in the concept of nation, while Jorge Maach
opposed mestizaje and countered with the concept of harmony between the races.
They both opposed the U.S. solution of separate but equal spheres. Ultimately, the
dialogue favored what Morejn described as a bourgeois solution, the integration of
blacks through education. This solution failed to take into account obvious economic
and social factors, such as racism, that made integration merely through education
impossible. What Guilln proposed in his poetry was a concept of nation as the
ultimate expression of mass struggle (Nacin y mestizaje 199).
As in her essay on Cecilia Valds, Morejn uses Guillns poetry as a springboard
from which to clarify the contributions of Afro-Cubans to Cubas cultural landscape.
In Nacin y mestizaje she raises Guillns figure to prophetic dimensions, claiming that
Guilln anticipates through his poetry the socialist nation that will become a reality
with the 1959 revolution. The titles of her chapters offer an indication of the nature of
Morejns critical discourse: Transculturation and Mestizaje, The Concept of
Nation, The Racial Question, A Reading of The Last Name, and In Spanish:
The Antilles.
The first chapter focuses on Fernando Ortiz and Nicols Guillns transculturation
and mestizaje, with a discussion of similarities and differences, arguing against
Ortizs view that Cubas indigenous cultures suffered such a tragic demise with the
arrival of the Spanish as to have left not much trace on contemporary Cuban culture
other than geographic and semantic terms. Another major difference between Ortizs
transculturation and Guillns mestizaje lies in the moment when each process
begins. Ortiz is silent on when transculturation beganpresumably it was at the
moment of the encounter, while Guillns mestizaje coincides with the emerging
nation in the late eighteenth and early nineteenth centuries. While both agree that
their concepts of culture are plural, based primarily on the transformation of Spanish
and African traditions, and both consider the economic basis at the root of the
encounter and integration of cultures, Morejn points to Guillns anti-imperialist
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ideology as one of the few ways of allowing the nation to transcend its neocolonial
status. Ultimately, in Morejns presentation, it was Guillns equal valorization of
the Spanish and African heritages that made it possible to return to blacks the civil
integrity that they deserve as participants in the forging of the nation. 10
In her second chapter Morejn illustrates the systematic erasure of the contributions Afro-Cubans made toward nation and culture. The author cites, as she has
before, the influence that Jos Antonio Saco had in excluding blacks from the forging
of the new republic, since they were considered foreigners, immigrants. Given the ties
between the United States and the new republic, and the U.S. encouragement of a
white-only rule, Guilln responds with his anti-imperialist message in West Indies, Ltd
(1934). Only when working classes rule will Afro-Cubans find a place in society,
Guilln contends. In her chapter on race, Morejn emphasizes Guillns struggle at
the level of the working classes, an ideology commensurate with the poets preference
for a popular poetic language. In her essays on his poetry, Morejn, like Guilln,
constantly relegates the concept of race second to class, so that blacks may be seen as
integrated into all levels of society, rather than as being isolated according to race. 11
In her analysis of El apellido: Elega familiar, Morejn points to Guillns integration
of its African members into the early history of the nation. The tragic and ironic tones
prevalent in the elegy lay bare the abuse of slaves and the erasure of their African
names in favor of their Spanish ones. Morejns last chapter places Guillns contributions in the context of other Caribbean literary movements that recover black
heritage. In Guillns case, as opposed to Aim Csaires, for example, the Cuban poet
is capable of rewriting Cuban history in a text such as the 1972 El diario que a diario (The
Daily Dairy), because he writes from a stance of a black man living in a liberated and
not colonial nation. (The Africana critic Vera M. Kutzinski points to the limitations of
this statement in Poetry and Politics [279]). Morejn concludes by stating her
preference for the label Afro-Hispanic rather than Afro-Cuban because the first
affirms Guillns mestizaje in the truest sense of the word. In her rather critical review
of Nacin y Mestizaje (1982), for what I agree constitutes a quite ideological analysis of
Guillns poetry, Kutzinski states the following regarding Morejns attention to her
definition of terms:
Although Morejns insistence on the term afrohispnico as a
most accurate description of Cuban culture may be brushed off
as political rhetoric or criticized for its apparent, and perhaps
inevitable, seductiveness, it helps remind us of the dire need for
a more unified and precise terminology especially when dealing
with such broad concepts as American culture, Latin American culture or Afro-American culture. Even more significantly, Morejns book, partly because of the intensely ideological tone of her own rhetoric, alerts us to the political connotations of certain terminological constructs and choices and thus to
the inevitably political nature of language and literature. (Poetry and Politics 27879) 12
Kutzinskis strongest criticism of Morejns book lies in the Cuban writers failure to
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es El apellido (280). Kutzinski recognizes, however, Morejns reluctance to explore
in greater depth the intricate relationship between language (and thus literature) and
ideology, between both literary and political rhetoric and authority, in the context of
a socialist regime (280), given the obvious social and political context in which
Morejn writes. Many years after Kutzinskis publication of her review in 1983, other
critics, such as William Luis and Linda S. Howe, have pointed to Morejns accommodations to the critical stages of retrenchment and to the openings in cultural terms in
Castros Cuba. Howe describes Morejns role as one of contradictions, setbacks, and
measured success (The Fluid Iconography 30).
With Fundacin de la Imagen and Nacin y Mestizaje en Nicols Guilln, Morejn
explicitly favors a class analysis in the construction of a history of ideas as they pertain
to Afro-Cubans. She emphasizes class yet repeatedly points to the silencing of AfroCuban voices based on racist assumptions. I resort to a quotation by the critic Efran
Barradas, who studies Morejns poetry as a revision of Guillns: Morejn puede
asumir en su obra potica la negritud sin as declararlo, pero slo porque otros y otras antes
que ellaGuilln aqu desempea un rol importantsimola asumieron de manera explcita
y hasta agresiva [Morejn can assume her negritude without having to declare it, but
only because others before herhere Guilln plays a very important roleassumed
it in an explicit and almost aggressive manner] (26). This statement may well be
repeated in terms of Morejns evasion of the issue of race in Nacin y Mestizaje. As she
points to Guillns solution of mestizaje as the way to counter the historical exclusion
of blacks, she consistently proceeds with accounts of Afro-Cuban cultural contributions, such as those of Juan Gualberto Gmez and Gustavo Urrutia, intellectuals
whose history would remain silent were it not for the voice of black writers like
Morejn. Almost two decades after she published these essays, Morejn, in a frank
conversation about racial stereotypes in the mass media in Cuba with the Cuban poet
and journalist Pedro Prez-Sarduy, she still believes that in spite of the social gains of
the black popular sectors during the Castro revolution, it is still necessary to insist on
the historical and cultural contributions of Afro-Cubans as a way to struggle against
racial prejudice: I think there are many battles yet to be won. I think we have traveled
in a good direction, and that should be recognized. The popular masses have won a
space where the mestizaje Guilln spoke so much about, and which has been so
important to me, has gained ground. I think thats important, but theres another
space that has to be won, which is historical reflection, knowing more about our
history of slavery and the black and mulatto population of Cuba. . . . We need to know
a lot more (Grounding the Race Dialogue 166).
The essays I will now consider, published from the mid 1980s to 2002 in La Gaceta
de Cuba, Casa de las Amricas and Revista Proposiciones, reveal Morejns desire to
know a lot more. These short essays record the cultural legacy of the African
diaspora in Cuba and other Caribbean nations, and the topics include a homage paid
to the black Cuban singer Bola de Nieve in January of 1999; a homage to the opening
of an exhibition of the books and journals published by Black Scholar Press in 1985;
an article in praise of the son master, the Venezuelan Oscar de Len in 1984; and her
remarks when awarding the Casa de las Amricas poetry prize to the Martinican
Nicole Cage-Florentiny in 1996. Other essays analyze films, theater, other Cuban
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writers, and the value of Cuban cultural institutions such as Casa de las Amricas.
Morejn also wrote essays on the Cuban artists Manuel Mendive, Mara Magdalena
Campos-Pons, Lawrence Zuiga, and Alfredo Rostgaard, and the American, Melvin
Edwards. Her essays on art provide a special case because in them Morejn adheres
to the methodology of artistic analysis and engages the canvases she views and
analyzes in a poetic dialogue. An analysis of two of her essays on the Afro-Cuban
primitive painter Manuel Mendive, one published in 1969, the other in 2002, illustrates my point.
In Manuel Mendive: El mundo de un primitivo [Manuel Mendive: The World of a
Primitivist] (Fundacin 15062), Morejn follows most of the prescriptions for writing
about art, including meticulous descriptions of the sculptures and canvases, defining
primitive art as prescribed by art theorists, establishing comparisons with other
primitivists such as Gauguin, signaling similarities with Van Goghs use of expressive
color, and marking different stages in the artists development. To support her
analyses, Morejn includes quotations from the artist himself and describes life
situations that signaled a drastic change in his use of canvas and color. Because in his
art Mendive depicts the mythology of his Yoruba traditions as represented in Cuban
practices, Morejn dedicates time to clarify the signification of his art as una nueva
poesa para nuestro medio plstico [a new poetry for our plastic arts] (Fundacin 150).
Notably absent from this essay are sociological and political interpretations of the
work, which were seen in her analysis of Guillns poetry. Moreover, as a writer,
Morejn uses a poetic language that signals a dialogue between the poetic imagination of the writer and that of the painter. She quotes Delacroixs idea on the subject:
Veo en los pintores a prosistas y poetas [I see prose writers and poets in painters] (150).
Notice, for example, the cadence of the opening sentence of the essay which, because
it emphasizes parallelism with a verb in the infinitive, recalls similar sentences and
poetic utterances by Jos Lezama Lima: Encontrar las claves esclarecedoras de un cosmos
mitolgico, entrar en el mundo de un pintor como Manuel Mendive, presupone un estado
inusual de asombro, enigma y nuevos reconocimientos [Finding the elucidating signs of
a mythological cosmos, entering the world of a painter like Manuel Mendive, presupposes an unusual state of marvel, enigma, and new acknowledgments] (150). 13
In December, 2001, Morejn delivered an address on the occasion of Mendives
receipt of the National Prize of (Plastic) Art. In Elogio de Manuel Mendive [In Praise
of Manuel Mendive], published by Casa de las Amricas early in 2002, Morejn
describes Mendives, and her own, Cuba: Esa Cuba es en Mendive un secreto a voces, una
densa maleza de signos ms que reveladores [That Cuba is in Mendive a secret shouted
out loud, a thick underbrush of signs more than revealing] (147). With this description, Morejn gives us Lydia Cabreras El Monte, with its cultural content and modes
of signification (including silences that speak out, evasion, and telling lies to arrive at
the truth). In presenting a fellow successful Afro-Cuban cultural figureMorejn
won the National Prize for Literature in 2001the writer engages a rhetorical
tradition that proudly guards its secrets but celebrates its mode of signification. In the
case of Morejn and Mendive, that poetic mode engages figurative language, silences,
and the autobiographical. In describing Mendives work, Morejn states: seis ms
legtimas creaciones nos pasan por el lado como palomas o como esos papalotes que anuncian
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el atardecer cerca de Tallapiedra [six more legitimate creations pass us like doves, or like
those kites that announce the end of the afternoon near Tallapiedra] (Elogio 146). In
describing her poetry, Morejn confesses her indebtedness to Mendive: Por qu no
pensar y agradecerle que algunos de mis poemas nacieron al calor de sus pinceles, al amparo
de la sabia ternura de Matilde, su madre, y de las travesuras del inefable Charlie, su hermano
mayor, y de Carmen, su ta alta, alta, clsica y tranquila? [Why not think and appreciate
that some of my poems were born under the warmth of his brushes, under the wise
tenderness of Matilde, his mother, and of the mischief of the ineffable Charlie, his
older brother, and of Carmen, his tall, tall aunt, classic and tranquil?] (146). Here, as
in her poem La cena [The Supper], creative endeavors are nurtured by the warmth
of the black family unit. For Morejn and Mendive, the most cherished cultural values
must be kept secret, divulged only through a thick underbrush of signs more than
revealing. Like Lydia Cabreras informants, Afro-Cuban subjects here choose to
survive and retain their culture through what may be considered by others contradictory and ambivalent statements. Morejn expresses it best with the following words:
Escribir no es otra cosa que arte y necesidad incapaces de ser sobornados
por nada ni por nadie. Mis primeros treinta y pico de aos en el oficio
de la escritura no han sido fciles pero no me lamento porque han
constitudo una academia inefable. Lo importante es la palabra que
puede fijar, como sea, una experiencia de mi vida. Y he tenido la prueba
de que el silencio ha sido, muchas veces, un surtidor incalculable del
fundamentos literarios y hasta de cierta eficacia formal. Como dice un
viejo proverbio yoruba: un gran silencio hace un gran ruido. (Cordones-Cook 70)
[Writing is nothing more than art and necessity, unable to be
bribed by anything or anyone. My first thirty-something years of
my craft as a writer have not been easy, but I do not complain
because they have constituted for me an ineffable academy. The
important thing is that word that may fix, in any way possible, an
experience in my life. And I have had proof that silence has been,
many a time, an incalculable source of literary foundations and
even of certain formal efficacy. As an old Yoruba proverb states:
a great silence makes a great noise.]
In my view Morejn proposes here, in a veiled manner, that the contradictions and
silences in her poetic and essayistic career constitute a kind of autobiographical
statement of an Afro-Cuban woman poet who in the first thirty years of her professional life saw it impossible to write about the things that mattered to her most: being
a woman, and being black.
When Morejn engages a poetic language in her critical writing about fellow AfroCuban artists, she follows in the tradition of Jos Lezama Lima (classified as hermetic
by the socialist cultural apparatus), who was an avid promoter and critic of Cuban
Baroque art as produced by such great artists as Vctor Manuel, Amalia Pelez,
Mariano Rodrguez, Ren Portocarrero, Roberto Diago, and others.14 As founder of
the group Orgenes, which included both poets and writers, Lezama published their
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work in the well-known journal of the same name. His own conception of the poetic
word is based on a system that conflates word and visual image. In his critical
introduction to La visualidad infinita, Leonel Capote states: En los aos 40, Lezama
comienza a configurar su sistema potico del mundo. . . . Con este sistema esboza una
concepcin de la vida a partir de la poesa, encontrando el fundamento en la frase de Tertuliano:
Es cierto porque es imposible. Por medio del sistema en cuestin, pensaba Lezama: aliados
la metfora, la imagen, el poema y la poesa, intentan ese imposible [During the forties,
Lezama begins to configure his poetic system about the world. . . . With this system,
he outlines a concept of life starting with poetry, finding its foundation in Tertulianos
phrase: It is certain because it is impossible. Through the system in question, Lezama
thought: metaphor, image, poem and poetry allied, they accomplish the impossible]
(Lezama Lima, La visualidad 28). Beyond his concept of the poetic image that transcends figurative language to include life experience, Lezama consciously incorporated the pictorial in his descriptions of landscape and home found in his novels Paradiso
and Oppiano Licario (Capote in Lezama Lima, La visualidad 15). He was intent on
reforming art criticism by imposing his own creative intelligence to discover the new
in a long tradition of Cuban art. Capote defines his art criticism style as thus: Su
crtica de cultura cubana se define como una prosa clara con extensin hacia la poesa [His
criticism of Cuban culture defines itself as a clear prose with a propensity toward
poetry] (14). In his criticism Lezama constructs poetic images in which he captures the
qualities of light in art works he admires. In this process he creates his own poetic
rendition of the concept of light. In his analyses of Cuban art, Lezama engages poetic
concepts of time, space, light, color, and Cuban culture.
Elucidating Lezamas concepts of light and landscape will be useful in this context
to clarify how in her poetic landscapes in her 1993 work Paisaje Clebre [Celebrated
Landscape], Morejn conflates the concepts of pictorial image with the simultaneity
of time and space. When describing light in the works of Amelia Pelez, Lezama
states: Parece como si la arribada de la luz a las figuras, le ofreciese las circumstancias de su
vivir [It seems as if the arrival of light on her figures offered her the circumstances
of her living] (La visualidad 166). The capacity of the artist to reproduce the brilliance
of Cuban light on objects also highlights that the artists and the viewers self-identity
as creators is dependent on that light. A beautiful rendition of Cuban light as
portrayed by Vctor Manuel appears in stanza four of Lezama Limas poem Nuevo
encuentro con Vctor Manuel [New Encounter with Vctor Manuel]:
Todos los das nos demostraba
que la luz se materializa en el esplendor
de los cuerpos a la orilla del mar
o en el hasto de la fascinacin
de las hojas, buscando en los parques
la mano del hombre.
...
Se asomaba para ver
y vea siempre una interminable fluencia,
pero no traicion nunca las posibilidades de la mirada. (Poesa Completa 358)
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[Every day he showed us
that light materializes in the splendor
of bodies on the sea shore
or on the tedium of our fascination
with leaves, looking in parks
for the hand of man.
...
He leaned out to look
and he always saw an interminable fluency,
but he never betrayed the possibilities of looking.]
Lezamas disquisitions on light and on art occur both in his essays and in his poetry,
erasing distinctions between writing art criticism and writing poetry. Moreover, for
Pelez and Manuel, the depiction of light and artistic creation coincide in the act of
looking. Later I demonstrate how Morejn reproduces Lezamas creative intelligence
as she views Cuban art in her poem Pogolotti.
In describing a canvas by Mariano, Lezama states: All, sin acercarse a escarceos
tiempo espaciales, resuelve en puro pintar lo sucesivo con lo simultneo [There, without
closing in on space-time spirals, he finds the solution by simply painting the successive with the simultaneous] (La visualidad 187). Marianos ability to depict time as
spatial simultaneity represents for Lezama what is most Cuban, most American, in the
widest sense of the word. Lezama thus defines the Baroque as a most Cuban of styles:
Para m el barroquismo es una condicin muy nuestra, es una condicin muy americana. Yo
dira que dos elementos precisan las condiciones del barroco nuestro, que es la simultaneidad;
es decir, lo que para los europeos es sucesivo para el americano es simultneo. . . . Y luego, un
elemento del barroco nuestro es la parodia de los estilos [For me the Baroque is our very
own condition, it is a very American condition. I would say that two elements
determine the conditions of our Baroque style; that is, simultaneity, that is to say, what
is successive for Europeans, for Americans it is simultaneous. . . . And then, another
element of our very own Baroque is the parody of styles] (quoted in Lezama Lima,
Introduction, La visualidad 49). Nancy Morejn engages Jos Lezama Limas idea of
Cubanness as expressed in a simultaneous condition of artistic expression in poetry
and in visual art in her poem Pogolotti.
The poem Pogolotti is representative of many of the poems in Paisaje Clebre
because it recalls the work of a Cuban painter, in this case Marcelo Pogolotti, and
through the recollection of the images on his canvases, Morejn simultaneously enters
into her own childhood memory of the now transformed neighborhood that bears the
artist Pogolottis name. Heather Rosario-Sievert writes about Morejns painterly
sensibility, prevalent in the entire book, and says: A more mature poet, however,
views the changing panorama about her . . . and the eye/I of the artist adjusts, seeks
other foci, seeks fragments of the past, placed in new landscapes, in paisajes clebres,
and chooses, in masterful painterly ways, their placement at points of stillness,
beauty, and magic, evoking an aesthetic sensibility and a visual echo of the audible
nostalgia (48). My reading of Pogolotti illustrates how Morejn, like Lezama,
creates a poetic image that puts into play a multiplicity of social, personal, and artistic
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considerations (also see Luis, The Politics 37). Morejn herself stated her indebtedness to Lezama in conversation with Juanamara Cordones-Cook: Los poetas de mi
generacinno todos sino algunosnos deslumbramos con su propuesta metafrica, con su revisin del concepto de la imago [Poets of my generationnot all of them,
rather, a fewbecame overwhelmed by his metaphoric proposal, with his revision of
the concept of the imago] (63).
Pogolotti is dedicated to Graziella Pogolotti, daughter of the painter, accomplished cultural critic, and friend of the poet. In her own essay about her fathers
contribution to Cuban painting, Graziella Pogolotti creates a discourse that includes
the autobiographical, the analytical, and the ideological. According to the daughtercritic, Pogolotti depicts the Cuban working classes with Lger like figures to accentuate the anonymous and automatic nature of human labor in the early decades of the
twentieth century. His canvases portray human figures at work in only muted colors,
favoring strong lines that emphasize the perpetual motion of dehumanizing labor. A
good part of Graziella Pogolottis essay is dedicated as well to the alienation that
artists like her father suffered in depicting the working classes during nuestra
repblica neocolonial [our neocolonial republic] (39). In one telling sentence, the
daughter-critic offers the following image of her father: Conserv siempre en su
memoria, con presicin sorprendente, la imagen de su ciudad, la descripcin exacta de las
calles, de la arquitectura de las casas, y sobre todo del drama social de su pas [He always
retained in his memory, with surprising precision, the image of his city, the exact
description of the streets, of the architecture of the houses, and above all, of the social
drama of his country] (33). I quote this sentence, in particular, to suggest that we read
it precisely as what Morejn accomplishes in her poem.
Morejn dedicates the second half of her poem to Pogolottis art because he depicts
the unemployed dockworkers who lived in the neighborhood that she visited as a
child. Morejn describes dockworkers in the area of Pogolotti as she describes
Pogolottis canvas in a Havana museum:
De pronto, muchos aos despus,
aquellas chimeneas,
aquellos msculos selvticos,
se dieron a la fuga para siempre
y fueron encontrados,
infinitos domingos despus,
en los cuadros de Don Marcelo. (2728)
[Suddenly, many years later,
those chimneys,
those jungle like muscles,
took flight forever
and were found,
an infinity of Sundays later,
in the paintings of Don Marcelo.]

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In creating her own image of the working sector of the city aprs Pogolotti, Morejn
produces a canvas-like image reminiscent of Mexican murals (como en los murales
mexicanos Paisaje 27). The rescue of the image of those men and that cityscape
matters to Morejn, because in an effort to safeguard Afro-Cubans from the cultural
depravation of their Santeria practices and from their poverty, neighborhoods like
Pogolotti were demolished, and a model, new construction rose in their place.
Morejns line: se dieron fuga para siempre [took flight forever] captures her pain at
the loss of a rich culture, depicted by Lydia Cabreras informants in El Monte, which
happened to be undervalued by the revolutionary project of the 1960s.
The Afro-Cuban filmmaker Sara Gmez depicts the transformation of marginal
neighborhoods in her 1974 docudrama De cierta manera [One Way or Another].15 This
imperfect cinema, conceived by the filmmaker Julio Garca Espinosa, mixes documentary and fictional-film techniques (Fowler Calzada 88). Sara Gmez dutifully
records, via the use of documentary reels, conversations of actual residents about the
necessity to restructure their community. Tearing down the old and building the new
would improve their unsanitary living conditions and allow inhabitants of poor
neighborhoods to integrate themselves into a social program that would discourage
Santeria practices, practices that would alienate them from participating fully in
Cubas new civic life. The repetition of a shot in the film that depicts a wrecking ball
tearing down poor, tin-roofed wooden shacks and dilapidated old buildings reinforces the revolutionary statement that one must tear down the old to build the new over
and over. There is no denying that the building of stable, architecturally sound
housing benefited the residents of neighborhoods like Pogolotti greatly. Yet along
with the rebuilding of the physical structures would come the destruction of a way of
life.
The dramatic development of Gmezs film encourages the transformation of an
Abaku secret society member from a character who cares only about the perpetuation of the all-male, exclusionary society, to one who participates in collaborative
work, stops lying to hide his philandering activities, and establishes a romantic
relationship based on the equality of the sexes. The Abaku separatist becomes Che
Guevaras New Man who relinquishes individual needs in favor of the revolutionary
collective. The filmmaker Gloria Rolando comments briefly on the polemic nature of
the film given a dramatic story based on a biracial couple, on the integrationist vision
that Sarita had of Cuban society, and on the directors sharp documentary eye to
protect reality. Speaking about Gmezs complex presentation of what residents of
the neighborhoods lost in the rebuilding of their households, Rolando states: Nor is
it a real solution to move the inhabitants from a marginal neighborhood, there is a
tradition, customs, with all their positive and negative charge (http://
afrocubaweb.org, Gloria Rolando).
What might have been destroyed by the wrecking ball in De cierta manera, Morejn
safeguards in her own poem. Pogolotti begins with:
Antes de ser el nombre de un pintor,
de un gran pintor cubano,
Pogolotti, en mi infancia,
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era una rstica ruta de malezas
que conduca a una casona alta (27)
[Before being a painters name,
the name of a great Cuban painter,
Pogolotti, in my infancy,
was a rustic road filled with undergrowth
that led to a tall house]
Morejns description of this cityscape counteracts the alienating image of chimneys
in the distance later in the poem. Morejns cityscape echoes the type of image that she
used to describe Mendives Cuba: una densa maleza de signos ms que reveladores [a
dense undergrowth of signs more than revealing] (Elogio de Manuel Mendive 147).
The poetic image that Morejn creates takes the viewer up the hill to a tall, large, and
deep house with a picketed yard filled with the colors and smells of calabashes,
trumpet wood, and barbecued goat. This goat had no doubt been sacrificed in a
Santeria ceremony, as depicted in Sergio Girals film Mara Antonia, and then cooked
for the entire community to enjoy. For Morejn, Pogolotti was a Sunday kind of place
where the extended community, under the tutelage of a madrina [godmother/santera]shared meals under the mango trees, where newborn babies were gifted with sugar
and honey, and where women and children did not leave until the working man Silvio
arrived. Along with the highly visual depiction of the site, Morejn provides the
reader with the smells of fruit, flowers, and cooked goat, and the sound of the
madrinas voice:
En Pogolotti pas tantos domingos
de quimbomb bajo los mangos,
de azcares y miel para recin nacidos,
de no se vayan todava
que ahora viene Silvio
para que vea a las nias. (27)
[In Pogolotti I spent so many Sundays
of okra under the mango trees,
of sugars and honey for newborn babies,
of dont leave yet
since Silvio is on his way
so that he may see the girls.]
Comforted by the embrace of her godmother (Cordones-Cook 27) and the lush sights
and sounds of the old house, the child gazes out to see the unemployed workers going
out, depicted in the poem as if in the epic Mexican murals and Pogolottis smallerscale canvases. The joy of community makes the dehumanization of Afro-Cuban men
more bearable, only because the poet accomplishes a distancing of the pain through
artistic image. The poet Morejn who gazes at Pogolottis canvases stands poised

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between the present of the artistic image and the past of her poetic vision, made
simultaneous by the madrinas embrace. The coincidence of artistic visual image and
poetic word stands as Morejns process in the rescue of a lost cultural memory:
entre el pasillo umbroso de un museo
y el patio de los chivos (Paisaje 28)
[between the shady hall of a museum
and the patio of the goats]
Like Lezama Lima, who describes Cubanness through the viewing of Pelez and
Mariano, through the simultaneous juxtaposition of her own poetic memory and the
vision of Pogolottis canvases, Morejn recovers the warmth and the pain of a lost
childhood as she depicts for the reader a large house up on a hill.
As Miriam DeCosta-Willis has so rightly stated in general about Nancy Morejns
poetry, there exists a tension between her intimate and social concerns. Morejn
herself has taken the time to address this tension:
Soy una poetisa social? S. Soy una poetisa lrica? S. . . . Pero vas
a encontrar del mismo modo, una poesa metafrica deudora del concepto de la imagen que tena Jos Lezama Lima. En m, vas a encontrar
asimismo una poesa de identidad (racial) deudora an ms de la gran
poesa de Nicols Guilln. (Cordones-Cook 65)
[Am I a social poet? Yes. Am I a lyric poet? Yes. . . . But youre
going to find, at the same time, a metaphoric poetry indebted to
the concept of image that Jos Lezama Lima held. In me, you are
going to find as well a poetry of (racial) identity, indebted even
more to the great poetry of Nicols Guilln.]
Even though Morejn goes on to mention the works of other poets, including Eliseo
Diego, Emilio Ballagas, and Virgilio Piera, I believe that the ambivalence in her
poetry, which varies from poem to poem, may best be explained by the tension created
by her having read and revised in her own ways the poetry of Guilln and Lezama
Lima.
In Pogolotti, the poet displays a tension between her creation of a nurturing
scene, and the pain involved in the contemplation of the social alienation faced by an
entire people. In her analysis of the poetry of Afro-Cuban women poets, Catherine
Davies compares the poems of Nancy Morejn and Georgina Herrera:
But these poems go further because they inscribe resistance
against sexual, racial and class exploitation from a distinctively
feminine, socialist, multiethnic perspective. At the same time,
the two poets write themselves into the mythical-historical process, which informs their present-day identity. They create worlds
with the poetic power of imagination. Morejn tends to privilege

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a Marxist dialectic and Herrera maternal bonding in an exploration of and identification with the interrelated histories, myths
and politics of Cuba and Africa. (A Place in the Sun? 186)
Morejns privileging of a Marxist dialectic aligns her with the poetry of her mentor
Nicols Guilln, who views art as a social praxis (Mullen, Afro-Cuban Literature 134).
Through her social analysis of class exploitation (Davies), in Pogolotti, Morejn
signals her indebtedness to the poetry of Guilln.
In this poem, however, that tension between Morejns intimate and social concerns achieves the simultaneity that Lezama Lima so treasured in the coincidence of
word and visual image. However, if I return to the concept of mestizaje, so central to
Morejn, as she confirms in her interview with Pedro Prez Sarduy, a more coherent
image of the cultural critic arises. If the concept of mestizaje endeavors to integrate
African and European influences as they interact in the creation of a new cultural
definition of Cubanness, then Morejns critical idiom manifests its valorization of
Afro-Cuban contributions through her critical study of Nicols Guillns poetry, as
well as through her critical study of Manuel Mendives art. In each case, Morejn takes
her literary lead from the two great masters of Cuban contemporary culture, Guilln
and Lezama Lima. In literary terms, Morejns mestizaje recuperates her African
heritage by following Guillns model of writing on behalf of those who have been
silenced. By fashioning her own version of Lezamas imago, she recreates Orgenes
version of Cubanness, which emphasized her poetic and artistic Hispanic heritage. If
these two discursive veins seem at odds with each other in her two essays on Mendive
and in a poem like Pogolotti, they flow seamlessly, giving us in poetic terms, what
is implicit in all her essays: Nancy Morejns best manifestation of her own cultural
mestizaje. Ultimately, her critical and poetic idioms provide for us, her readers, a
comprehensive vision of Cuban history, inclusive of her African heritage, and mindful of the intimate, small histories of the madrinas who, under siege, perpetuated their
Afro-Cuban culture.
Reprinted with permission of the University of Virgina Press

NOTES
1. Mullen wrote the introduction to the issue of the Afro-Hispanic Review in 1996 dedicated to
Nancy Morejn.
2. For clarification of the role of the Cuban intellectual in the public sphere, see Desiderio
Navarro.
3. See Singular Like a Bird edited by Miriam DeCosta-Willis, and the Spring 1996 issue of AfroHispanic Review.
4. For Palabras por el Premio Nacional de Literatura go to <afrocubaweb.com>. All translations of Nancy Morejns are mine unless otherwise noted.
5. See Works Cited for these essays.
6. See the essay by William Luis and Linda S. Howe which describe these intellectual periods.
7. For analysis of these poems see essay by McKenzie, Williams, Hampton, Gutirrez, Martin
Ogunsola, DeCosta-Willis and RosaGreen-Williams in Singular Like a Bird. C. Rose GreenWilliams cautions that in Mujer Negra, the title of the poem may even be seen as ironic, since
the racial specificity which it anticipates undercuts the raceless nationalism which the poem
espouses (197). Conrad James reads, Obrera del tabaco [Woman in a Tobacco Factory] and

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8.

9.

10.
11.
12.
13.

14.

sees it as failure on Morejns part to construt a liberate female subject: I prefer to read the
poem, however, as an example of the truncation of female experience in an attempt to uphold
socialist values and maintain a harmonious national rhetoric (53). James reads the poem
against the background of policies in socialist Cuba which discourage the production of
autobiography as a revolutionary genre. As well know, the testmonio was the favored starting
in the sixies.
In other essays found in Fundacin de la Imagen, Morejn speaks of the same commitment to
popular language and service to the people on the part if the other writers such as Langston
Hughes (267270), Edward Brathwaite (234244), Jaques Stephen Alexis (222233), and Jaques
Roumain (203221). Experts from the essay on Hughes were trasnslated and published in The
Langston Hughes Review.
Critics Vera Kutzinski in her Sugars Secrets (46) and Gerardo Mosquera in his alien-Own/
own Alien point to the limitations of the term mestizaje. Mosquera summaries it best thus:
The problem with the idea of cultural mestizaje is that it can be used to create the image of a
fair and harmonious fusion, disguising not only differences but contradictions and flagrant
inequalities under the myth of integrated nation (170). Although I agree with the critic that
the term has certainly been used historically to negate racism and sexism in Cuban cultural
practices, during the course of this chapter I hope to illustrate that in Morejns own discursive
practices she attempts to address the contradictions that the term may harbor.
In his book on race and inequality in 20th century Cuba, Alejandro de la Fuente states that
Guilln desires to transform society, and not the level of education of blacks, in order to solve
the black problem
For another way of considering terminology that refers to the African diasporic experience, see
pp. 169172 of Ian Smarts Amazing Connections.
I owe this observation and her suggestion to consult La visualidad Infinita to an avid reader of
Lezama Lima, Raysa Menderos.
Note that in one of her early essays published in Fundation de la Imagen, Morejn writes in
defense of Lezama Limas hermetic style (135139). For a presentation of the Cuban avantguard painters see Juan A. Martnez. It must be noted that Nicols Guilln also wrote essays
about Cuban art, some of which are collected in Prosa de Prisa, and which most have also
influenced Morejn.
For the best analysis of the film see Michael Chanan in his book on Cuban cinema. See also
Catherine Davies and Ana Lpez.

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