Even though they are often linked to the “intimist” current of Postmodernism, Dulce María Loynaz’s work, as well as her authorial figure, stand out in the context of Twentieth Century Cuban literature. In this paper we first intend to examine some procedures that cooperate in the visual dimension of Loynaz’s poetic writing. With this in mind, we offer a reading of the poem “Retrato de Infanta”, included in Versos, 1920-1938, from a gender perspective. Secondly, the metaphor of a museum of one’s own invites us to trace the pictorial imaginary in Loynaz’s characterization of the Latin American “poetisas”, a gallery of women that she approached in various occasions and of which she was a member.
Keywords:
Dulce María Loynaz, Cuban poetry, visuality, pictorial imagination, Latin American poetisas
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How to Cite
Puppo, M. L. (2016). A Museum of One’s Own: Dulce María Loynaz and Pictorial Imagination. Meridional. Revista Chilena De Estudios Latinoamericanos, (7), pp. 203–226. https://doi.org/10.5354/0719-4862.2016.43545
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