Much has been written of the representation of the Afro-Cuban woman in More- jon's poetics, particularly as a representation of her subjectivity since the inception of the Cuban revolution. As Janet Hampton has noted, poems like "Madre," "La cena," "Renacimiento," and "Mujer Negra" counter objective images of women found in Spanish American literature, revealing instead a Black woman who "is active, not passive; resistant, not submissive; regenerative, not destructive. She symbolizes the history of the Afro-Cuban people, the continuity of tradition and an optimistic vision of the future of her country" (170). While Morejon's presentations of Cuban women's reality specifically highlight the historically marginalized Afro-Cuban experience, she also presents a conceptualization of women's empowerment that goes beyond national boundaries. As she states in her interview with Elaine Fido: I think it is very important in these times for us to read Caribbean literature written by women because in our tradition we have had the male view of the Caribbean and we have to recognize now that these male views have been sometimes only sexual: a view that has limited women to sex. I believe women writers or Black women writers in the Caribbean and everywhere give a very special touch to their literature. (Morejon, "A Womanist Vision" 266) For Morejon, women's experience is marked by two important characteristics. The first is its ability to give voice to an identity not constrained by patriarchal ideas of the feminine as solely sexual in nature. Secondly, their experiences create a community of Caribbean women who use the word as a mirror of their historical realities, cultural realities, and desires. Nonetheless, in describing this solidarity Morejon rejects more common uses of the label "feminist," opting instead for a "womanist" optic, as used by Alice Walker. Such a term connects women's experience to society and history. As Howe notes: When Morejon adopts Walker's concept, she emulates tradition- al Caribbean cross-cultural exchange to legitimize her appropri- ation of an Afro-American writer's theory. In other words, More- jon's critical position has implications that go far beyond her prorevolutionary stance vis-a-vis capitalist consumer societies