Ampliare

In the poetry of Nancy Morejón there is an ancient look. There remains a certain sensitivity of matriarch, and it seems that successive generations are re-founded on her writing. That is perceivesd by those who read her verses; the poetic record of memories denied, a door to nostalgias of a lyrical subject who does not want to escape her condition of black woman. Morejón holds on to those fragments where she sees a baby girl, a teenage girl, an old woman, a mother, a grandmother, as if the testimony of women who preceded her  in centuries was her greatest obsession.
Her poetry evolves and moves through time, ranging from colloquial to more solemn areas. It involves real landscapes defined from affective memory. Her lyric is not exempt of musicality, of heights and slopes, of movements and undulations. Wealth learned from her spiritual master: Nicolás Guillén.
Her writing goes through history, or better, is constructed from the fragments of many lives, always with a deep lyricism that reminds the poets of the Generation of 27, of which she feels debtor. Topics linked to the Afro-Cuban world, to the national identity, to the Caribbean culture, are put to interact with the History in capital letter, offering a very personal perspective nuanced by the vindication of the feminine discourse. Politics, ethics, race, discrimination, moral understanding of the world and its challenges as a woman of this century invite her to exchange times and experiences.
It is perhaps the work of Nancy Morejón one of the first to circumvent the restrictions of the economic and financial blockade imposed on Cuba by the United States Government. In 1985 its first bilingual volume Where the Island Sleeps Like a Wing saw the light in California. For the anthology With Eyes and Soul: Images of Cuba, with photographs of the American Milton Rogovin, she wrote thirty-eight texts that completed the approach to her native land. The project was presented in 2004 in Buffalo. A decade earlier, New York University had conferred on her the Yari-Yari Prize for Contemporary Poetry for the work of a lifetime.
The truth is that Nancy is concerned about the sea. A character that seduces her. The path that  brought to her ancestors. The house of their dead. The skin that covers its Island and that is felt inside its verses. Perhaps another painful record of slavery and its aftermath. Of the emigration and its sequels. But also the way of reunion between Cuba and the world.