Havana, Cuba. - When talking about poetry and musicality, it is a must to refer at length to Nicolas Guillen. He is our National Poet and it could not be anyone else, because he combined like no one else the most precise lyrics to speak of subject themes of this Island. His singing reached deeply in every social stratum.
His second book, which he titled Songoro Cosongo, brought him fame and glory. It is a reflection of Cuban idiosyncrasy in all of its dimensions and belongs to his so-called mulatto poems. In each of its fifteen works, he emphasized the crossbred nature of our culture.
The author synthesized in symbols, metaphors and African words the existence of a segregated race and focused his poetry on these men and women. The whole Island, its exuberant vegetation and juicy fruits, are portrayed in these texts. All the wit and cunning of the Cubans can be found in those verses.
In his book Songoro Cosongo, Nicolas Guillen dealt with the way of life of men and women of African origin in our country. He proved that they are, unquestionably, an essential component of Cuban culture. Their presence in every field influences and determines the way of thinking and doing in Cuba.
Guillen’s verses sound like Cuban rhythm, motion, music and dance. When we hear them or read them, we seem to be hearing the drums and watching our dancers on stage. Our women’s rhythmic way of walking, the gait and gestures typical of this people find their nest in the famous poem book.
Songoro Cosongo set standards for our national arts, since many of its verses have been used in different expressions of our culture. Their musicality infects the reader, whereas its brevity and plain language urge you to return to its pages over and over again.
Translated by Pedro A. Fanego
