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The poetry of Fina García Marruz re­ve­als to us the in­ten­ti­on of chan­ging the wri­ting at ho­me whe­re it shel­ters the past, its dif­fu­se li­mits, and the trans­cen­den­tal and daily in­ti­macy of the me­mory.

Her ver­ses fill the mys­te­ri­es of exis­ten­ce; in that se­con­dary do­or that opens our eyes to the tran­si­en­ce of li­fe. It was the Cu­ban es­sayist and po­et Cin­tio Vitier who said that the poetry of Fina García Marruz go­es from the in­ti­macy of the soul to the ob­jec­ti­vity of the spi­rit.

Night, ti­me, faith, mu­sic, fa­mily, the sea, are pla­ces which helps us to stay in di­a­lo­gue with the re­a­lity that sur­rounds her. Dif­fe­rent di­men­si­ons of a hu­ma­nist et­hic are out­li­ned in her poetry, ways that ha­ve be­en

com­ple­men­ted by the es­say and cons­tant re­vi­si­on of Jo­sé Martí's le­gacy.

Whet­her in her po­ems of re­li­gi­ous ro­ots or in her po­e­tic dis­cour­se of every­day li­fe, she presents a ly­ri­cal sub­ject that clings to words as the only way of re­cog­ni­zing the bre­vity of her pas­sing through the world.

The work of Fina García-marruz (Ha­va­na, 1923) is one of the most re­le­vant aest­he­tics of con­tem­po­rary Cu­ban poetry. It be­lon­ged to the group of in­te­llec­tu­als of the ma­ga­zi­ne Ori­gins (1944-1956) next to its hus­band Cin­tio Vitier. He was part of the te­am that ma­de the cri­ti­cal edi­ti­on of the Com­ple­te Works of Jo­sé Martí. Her poetry has be­en trans­la­ted in­to se­ve­ral lan­gua­ges. In 1990 she re­cei­ved the Na­ti­o­nal Li­te­ra­tu­re Pri­ze, the hig­hest re­cog­ni­ti­on of Cu­ban Li­te­ra­tu­re and the Rei­na So­fía Pri­ze for Ibe­ro-ame­ri­can Poetry in 2011.

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