To be a woman in revolutionary Nicaragua meant to take an active role in reshaping a country. Daisy Zamora came out of that experience as a poet who found her own voice in the context of extraordinary popular struggle. Her Clean Slate: New & Selected Poems is a collection that embodies a spirit of personal and political liberation. These 110 poems include works written between the years 1968 and 1993.
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Daisy Zamora (20 June 1950 in Managua, Nicaragua) is one of the most prominent figures in contemporary Latin American poetry. Her work is known for its uncompromising voice and wide-ranging subject matter that dwells on the details of daily life while encompassing human rights, politics, revolution, feminist issues, art, history and culture. She was raised in a wealthy liberal and politically active family. She attended convent schools and studied at the Universidad Centroamericana in Nicaragua where she earned a degree in psychology. She earned a post graduate diploma from INCAE, a branch of Harvard University in Central America]. She also studied at the Academia Dante Alighieri and the Escuela Nacional de Bellas Artes.
This first collection of Zamora's work to appear in English is set primarily in the context of the Nicaraguan struggles. Central to this bilingual volume is a probing long poem that juxtaposes a Sandinista Radio report of the day's battles for control of Nicaragua with the speaker's more intimate memories: her grandfather's porch, the church services of her childhood. An active revolutionary, Zamora, in many of her shorter political poems, which comprise a quarter of the volume, unfortunately verges on the didactic. However, through her introspective early work, as well as through previously uncollected recent poems, we see the poet at her lyrical best. Early on, Zamora writes of "this everyday love" and of the woman who feels a "flutter of seeds" in her stomach at her lover's approach. But during the political upheavals she begins to take note of the strength in the women around her. Emerging from torment, her poems assume a wry irony; in one poem she writes in the voice of an "unemployed" housewife, in another she instructs would-be beauty queens. On a more tender note, she makes peace with her mother and seeks to learn about her matrilineal heritage. The translation by a mother-and-daughter team is commendable.
Copyright 1993 Reed Business Information, Inc.
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