Many of Fina García Marruz’s published poetic pieces were collected in “Lost Looks,” such as “Letter to César Vallejo” and “The Light of the Century,” which reveal the similar mastery she displayed in handling closed and open poetic forms. Night appears as the quintessential symbol of her explorations, which she attempts to penetrate as an image of universal mystery.

Her full inclusion in the Origenist world nourished the group from the perspective of the feminine in poetry, not only through literary creation itself, but also through the magazine being a favorable environment for her first essays, as a living letter that fertilized the work of other poets in the group.

In addition to the poems already mentioned, he would also publish in Orígenes the poem “Song for the Strange Flower,” which achieves an admirable concretion between natural reality and the purist conception of the symbol of the rose, in this case a flower in which the dimensions of the ephemeral and the eternal somehow converge, from the proximity to the god of perfection, destined for the most perfect solitude:

“Today I have seen the earth, severe in strength and fantasy, faithful nurse of time;

Today I have seen the earth without chastity, more holy for being so humble, so strong and true;

Today I saw a handful of earth like the short and fair judgment of a rough man of the people,

from which you have emerged with a different serenity, with a different irony, a strange, strange flower.
(…)
Ah, that you may not know the brevity of days but the virgin jewel of a time that does not return,

For what is this day to me but a stone placed on the strange rolling of a dark slope,

What is this day to me that sticks to your body like light to a diamond and that only slips into mine,

What is this day for me if it cannot be what for you the extension of my Body in the eternal open air?

In Orígenes he also published “One Day, One Look” –along with “The Light of the Century”, several pieces from “Lost Looks”, specifically those titled “The Walks”, “The Beautiful Child”, “Jardín del Cerro” and “The Music Room”, where memoriam becomes a powerful instrument to delve into an intimacy from which he returns with a renewed lyricism, an eternal source of his lyrical vocation.

Other pieces that appeared in the magazine were those that would later form part of the section “The Night of the Heart”, titled “A Face, a Rumor, a Faithful Instant”, “You Don’t Know How Far It Has Come From”, “A Very Sad and Ardent Privilege”, “I Love You, Words, Sad Mothers”, “Like a Dancer” and “Death Will Come”.

In general, the poet was one of the few who remained faithful to the Origenist movement long after its dissolution as a group, leaving her mark on the lyrical discourse of its members. Her affiliation with Martí, associated with the investigation into the roots of the national, and her Catholic religiosity underpin the aesthetic and vital mission that Origenism arrogated to itself, dedicated to saving the nation through culture.