Josefina García-Marruz Badía (Fina García Marruz)
Saturday, April 30, 2011
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BIBOGRAFÍA:
Marruz García, Fina (1923 -). Poet, essayist and literary critic Cuban born in Havana in 1923. Author of a splendid production printed on the same brilliance that shine with its amazing capacity for creative writing and analytical acumen and penetration, is considered one of the leading voices of Cuban intellectuals in the second half of the century XX. It was one of the members of the famous group of poets "Origins", gathered around the early sixties and established, among others, by Eliseo Diego, Angel Gaztelu and Cintio Vitier (husband of the poet habanera).
Leaning from his early youth to the knowledge of the humanities and the cultivation of literary creation, it soon became known as a poet through compositions that deserve the praise of future Nobel laureate Juan Ramón Jiménez English. Fina García Marruz itself had the model of his early poems the author of Platero and I, as left evident in the poems which opened its literature, published in the early forties under the generic title of Poems (Havana: Ucar Garcia, 1942). The astonishing precocity of the writer (who, at the time of giving the press is his debut, had not yet reached twenty years of age) was even more striking when, in the course of that year, 1942, Fina Garcia joined the Editorial Board of the journal Clavileño first regular broadcasting body launched by the poets of the group "Origins", which was maintained during his brief lifetime (1942-1943). Since then, almost all their creative and essay should be related to another publication, the journal Origins.
Five years after publishing his first poetry collection, Fina García Marruz returned to the shelves of bookstores with a poetic sequel entitled Transfiguration of Jesus on the Mount (Havana: Origins, 1947 ), a work consisting of a single large composition in which the concerns were religious poetic formulation of the author, also present, for those same dates, in his text essay entitled "The exterior of poetry," which was released between the pages of the flagship journal of literary group to which he belonged. At the same time, the writer-in Havana continued to disseminate that and other cultural publications like-new poems, in the early fifties, gave rise to the first major collection of his poetic task, printed in book form under the title From the looks lost 1944-1950 (Havana: Ucar Garcia, 1951).
Fina García's poetry covers the three coordinates Marruz issues that broadly govern the poetic creation of other authors of the group "Origins": the religious concerns, the use of memory as a source of poetic material and the search for national identity-through-lyrical creation can be analyzed as a "poetry of the Cuban." These three thematic (and very pointed, the last of them) are also present in the following the author's Havana collection of poems, published when they were about to spend twenty years since the release of his latest collection of poems. Visitation is (Havana: National Union of Writers and Artists of Cuba, 1970), work in which not only provided his new compositions, but also a comprehensive collection of previous lyrical production.
Thereafter, Fina García Marruz poetic creation continued to alternate with the exercise of literary criticism. Some of his new compositions, along with other poems from his previous books, seen the light in the mid-eighties in the pages of Selected Poems (La Habana: Letras Cubanas, 1984), selected work, and prefaced by Jorge Yglesias. Three years later, in collaboration with her husband Cintio Vitier, the poet of Havana published a volume entitled Trip to Nicaragua (ID ID, 1987), which were printed some of his new compositions poetic, and, after three years, returned to the shelves of bookstores with an interesting sample of his latest poetry of maturity, published under the title credits Charlot (Matanzas: Ediciones Vigia Writer's House, 1990 .) Overall, at all stages that make up the fruitful career Fina García Marruz poetic interest can be seen the reflection of the everyday things, your choice of an intimate tone, their deep religious yearnings, his concern for the passage of time and in relation to this temporal transience, his conviction that all reality is composed of elements immediately precarious and transient.
In his role as essayist, Fina García Marruz has also actively collaborated with her husband, with whom he has published several volumes as needed for the study of English American Literature and Critical Studies (1964) Themes and Marti (Havana: Cuban Collection Department, National Library José Martí, 1969). Considered one of the world's leading experts in literature of the nineteenth century Cuba (and, especially, in the figure and work of the great Cuban patriot José Martí), has also studied with analytical clarity dazzling works of other Cuban authors (as José Lezama Lima) and some of the greats of American literature of all time, such as Francisco de Quevedo, Sor Juana Inés de la Cruz, Gustavo Adolfo Becquer, Ramón Gómez de la Serna and the aforementioned clubs Moguer poet, Juan Ramón Jiménez .
*****
BIBLIOGRAPHY:
Poetry :
Poems, 1942.
Transfiguration of Jesus on the Mount, 1947.
The lost looks, 1951.
Visitations, 1970.
Travel to Nicaragua with Cintio Vitier, 1987. Selected Poems
, 1984.
credits Charlot, 1990 (Critics Award 1991).
The Rembrandt de l'Hermitage, 1992.
Old tunes, Caracas, 1993.
basic notions and some elegies, Caracas, 1994.
downtown Havana, 1997.
poetry anthology, 1997.
Poetry chosen, with Cintio Vitier; Editorial Norma SA, Bogotá, 1999.
Essay:
Critical Studies, with Cintio Vitier, 1964.
Poems of Juana Borrero, 1967, 1977.
Martí's verses, 1968 .
Topics Marti, with Cintio Vitier, 1969.
Bécquer or light mist, 1971.
Hidden Flower Cuban poetry, with Cintio Vitier, 1978.
Speaking of poetry, 1986 (Critics Award 1987). Topics
Marti, second series, 1982.
literature Newsprint in Havana, with Cintio Vitier and Roberto Friol, 1991.
Marti Topics (third series), 1993.
Family Origins, 1997.
Other critical issues:
Poems and letters, with Cintio Vitier, 1977.
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