Abstract
In this article, I examine how the appearance of ghosts and the spectral language in the works of three generations of Cuban poets represent a changing relationship with exile and Cuban identity. In Nancy Morejón's "Ante un espejo" (1999), the poetic voice warns that choosing exile will mean an empty, unfulfilling, and haunted life. "Tropical Flavor" (1997) and "Burialground" (1998) by Nilda Cepero illuminate an exile's relationship with a home country that she remembers vaguely and that importantly influences her identity, but that she has not been able to experience firsthand since childhood. Andrea O'Reilly Herrera describes a woman's body as haunted by the ghosts of her ancestors in "Inhabited Woman" (1999). Through a spectral lens, I explore how these Cuban and Cuban American writers engage with ghostly elements to tell stories of exile and shift the trope of haunting from one of eerie, melancholic longing to that of spirits embodied and recognized with pride.
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