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Fina Garcia-Marruz is no more. Her spiritual voice, the great Cuban poet, has been extinguished.

Yesterday, Fina Garcia Marruz's spiritual and almost hidden poetic voice was lost forever in her native Havana.

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Fina Garcia-Marruz is no more. Her spiritual voice, the great Cuban poet, has been extinguished.

Yesterday, Fina Garcia Marruz's spiritual and almost hidden poetic voice was lost forever in her native Havana. According to Casa de las Americas (a Cuban cultural institution), the Cuban poet, essayist, and researcher, Fina Garcia-Marruz was "one the most extraordinary voices of Latin American literature." She died at the age 99. She is a member the "Origenes" group. Indebted to Lorca Juan Ramon, Neruda and Neruda, she made her mark by winning the Reina Sofia Prize for Ibero-American Poetry 2011, the most important in the Hispanic sphere. Luis Antonio de Villena was a member the jury that awarded the award. He said, "Her poetry is very high quality and has an elegant form that travels through Christian Spirituality."

Garcia-Marruz was born in Havana in 1923. He joined the 'Origenes group', which revolved around the homonymous magazine. It was published between 1944-1956. This group brought together writers like Gaston Baquero, Eliseo Daniel, Cintio Vitier and Jose Lezama Lima. Federico Garcia Lorca's poetry and Juan Ramon Jimenez's poetics influenced Garcia-Marruz greatly. 'Origenes would be equivalent in importance and influence as our Generation of 27 Spanish citizens.

Garcia-Marruz said she was a writer because of the 1936 meeting with Juan Ramon Jimenez. She had a special affinity for Pablo Neruda's work, which she discovered in Havana in 1942 when she was invited to the "precious reading," of Quevedo’s love and death sonnets in the capital of the island. She also admired the Mexican poet Sor Juana Ines de la Cruz who she called "sensitive and elegant".

She was a researcher at Jose Marti National Library of Cuba. She delved into the works of the famous Cuban poet, politician, and liberator while she was at the Center for Martinian Studies. Between 1977 and 1987, she was assigned to the Center for Martinian Studies to complete the Critical Edition of Marti's Complete Works.

Enrique Sainz, a literary critic, says Garcia-Marruz is able to see that Garcia-Marruz poetry "is composed of states of mind and intuitions, as well as revelations of reality that are not seen in other Cuban poets." His essays "reveal an appreciation of textual value, without academicism and of strictly artistic prose."

She refused to talk about herself or give interviews, saying that she felt "like a violinist asked for a concert with flutes". She is a passionate music lover and used to say that her greatest pride was her children Sergio and Jose Maria Vitier. They are renowned composers and instrumentalists, and were the winners of the Cuban National Music Award for 2014 and 2021.

Garcia-Marruz's works have been translated into a dozen languages. Titles include 'Poems' (1942), 'Transfiguration of Jesus Christ on the Mount' (1947), 'Visitations' (70), 'Selected Poems' (1884), 'The Family of Origins'(1997), 'Speaking of Poetry' (86), and 'Charlot's Credits' (1990). Her verses are included in an anthology by Carmen Conde (1967), 'Eleven great Hispanic American poets' (1947), 'Transfiguration of Jesus on the Mount' (1947), 'Visitations' (1970), 'Selected Poems' (1984), 'The Family of Origins' (1997), 'Speaking Of Poetry' (1986) and 'Charlot's Credits' (1990).

She won the Reina Sofia Prize in Ibero-American Poetry and other important awards such as the Cuban National Literature Prize she received in 1990. This was her second win after Dulce Maria Loynaz's 'cervantes'Dulce Maria Loynaz. She was also awarded the Pablo Neruda International Poetry Prize in Chile or Federico Garcia Lorca City of Granada International Poetry Prize.

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