Finally, the 1990s has seen a huge resurgence of interest in "lo cubano," in all things Cuban—including the Cubanness that takes shape beyond the boundaries of the island and the state.

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In the heady days of the 1960s and 1970s, she went into voluntary seclusion, like a Cuban Emily Dickinson.

She paid a price for this choice, and the price was silence and solitude and oblivion.

What was it, then, that drew journalists, filmmakers, admirers, and fledgling translators to Loynaz's work?

What was it that drew more than a few curiosity seekers, both from Cuba and abroad, to the figure of Loynaz herself?

Catholicism has made a comeback; masses are now heard all over Cuba.

And Loynaz, as she herself was quick to note, was a thoroughly Catholic thinker and writer, who continually returned to the rose as a symbol and the rosary as a poetic form.

And yet she remained aloof from the "revolutionary project," neither taking a stand for or against, but living parallel to the history that unfolded outside her doorstep.

Her poetic sensibility and class position were not "stuff for guerilla poetry and Marxist-Leninist aestheticians."Loynaz herself seemed to fear that her work had become irrelevant in the wake of the transformations wrought by the Cuban revolution.

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