Penelope, who weaves and unravels while evoking and dreaming, is a clear symbol of the poet, who creating and erasing, recreating and correcting, finally reaches profound depths with the help of an interior dominant voice, or of a providence it's better not to name... The author's hand, visible here as in her other works, becomes particularly dazzling when we see her choosing to draw near words that are not usually contextual, the proximty of which surprises and fascinates. From these choices emerge the symbol-bearings of the work... In any language, the illuminating force and tenderness of her message won't be minor, and we will carry it inside as she carries her Ulysses, to nurture our own dreams and complete the missing half of our identity. Martha L. Canfield From the Preface to the Italian edition of Viajes de Penelope

Divided in three parts (Isis, Trinity and Key), Manual de magia/ Manual of Magic, one of the titles that earned her author the VIII "Ultimo Novecento" International Award in Pisa (1985), gathers 37 poems by Juana Rosa Pita that, as the first edition of Ambito Literario in Barcelona states, "constitutes a beautiful example of synthesis. All mechanistic rhetoric is left out of an optic whose horizon unites the tangible with the Utopian." Its translation into English by the late Donald D. Walsh in 1980, still unpublised, appears now alongside the Spanish originals, bearing witness to the luminous synthesis of the verse and the mastery of a tone which moves from the intimate to the collective and from the mythic to the personal, that caractherizes from the start the poetic language and style of this "outstanding voice of Cuba's Pilgrim culture" (in the words of Pablo Antonio Cuadra) whose poems have been included in important literary anthologies, from New Directions in Prose and Poetry 49 (New York 1985) to Otra Cuba secreta (Madrid 2011) and among whose 24 titles are Viajes de Penelope, Tela de concierto. Pensamiento del tiempo and Meditati, recently published in Italy in a bilingual edition.

A work of beautiful lyrical and musical accents written in Chopin's voice, Manuscript in Dreams/Study of Chopin, sheds light on highly meaningful moments and aspects of the composer's life and work. The author has knowledgeably threaded together "manuscripts that appeared to her in dreams..." an ensemble of intimate pieces subtly combined in an engaging kaleidoscope of memoir, narrative and poetry. A diversity of characters-George Sand, Clara Schumann, Heinrich Heine, Charles Halle, Eugene Delacroix...-parade through these pages and contribute to their remarkable immediacy, while a handful of poems offer a precise emotional counterpoint. As Lourdes Tomas says in her critical essay on the Spanish original, "In this splendid imaginary autobiography written by the Cuban born poet and writer Juana Rosa Pita, the poet of the piano is rendered as musician of words." The publication coincides with the bicentennial of Chopin's birth: an original, heartfelt homage to an unrivaled composer.

Escrito en la voz de Chopin, este nuevo libro de la autora de Tela de concierto y Pensamiento del tiempo, ilumina momentos y aspectos altamente significativos de la vida y la obra del compositor. El conjunto de intimas piezas recibidas en suenos integra una suerte de memorias diferidas del gran musico donde, segun ha notado Carlos Murciano, "se combinan sutilmente la epistola, la narrativa, la poesia, ... Un caleidoscopio bien vertebrado y que va sumiendote en esa atmosfera chopiniana que hace a su protagonista inmediato complice del lector. La diversidad de personajes -George Sand, Clara Schumann, Heine, Halle, Delacroix...-que desfilan por estas paginas contribuye a su amenidad y los versos, emotivos, son el preciso contrapunto a la narracion." La publicacion de Manuscrito en suenos / Estudio de Chopin, de Juana Rosa Pita, ofrece un original y sentido homenaje al sin par compositor por el bicentenario de su nacimiento.