Mireya Romero Plaza de Bravomalo, aka Mireya de Bravomalo or Mireya Romero y Cordero (Quito, January 29, 1929 – July 2014) was an Ecuadorian poet, novelist, and feminist. In 1953, at the age of 23, she published a novel entitled, “La pena fuimos nosotras,” which was read by many women and that put her in the forefront of feminism in Ecuador in the 50’s. In 1956, she published a poetry book entitled, “Heliofina,” prologued by poet Francisco Granizo Rivadeneira. She sometimes used the pseudonym Marga del Río.
Early Life and Education
Mireya Romero Plaza was born into a family deeply rooted in Ecuador’s intellectual and political circles. Her father, Remigio Romero y Cordero, was a crowned poet and grandson of former Ecuadorian President Luis Cordero Crespo (1892-1895). Her mother, María del Rosario Plaza Plaza, hailed from Guayaquil, Ecuador, and was the daughter of Virgilio Plaza Drouet and Carmelina Plaza Rumbea. Mireya grew up with her older sister Coya after their elder brother, Remigio, passed away in infancy. Her parents separated during her early years, and after the divorce, Mireya and her sister moved with their mother to live with their maternal grandparents in Guayaquil.
Despite her family’s separation, Mireya experienced a happy childhood. Her nanny, Rosa Pañora, taught her to read and write at the age of three, recognizing her early brilliance. She was a child prodigy, speaking in verses from a young age. Her education began at the Colegio de las madres salesianas of María Auxiliadora, where she excelled in mathematics and literature, and continued her studies in music, learning piano and violin.
In 1939, following her mother’s second marriage to Chilean lawyer Jorge Zuasnavar Wormand, the family relocated to San Fernando, Chile. Mireya continued her education there, attending a German nuns’ school before transferring to the local Liceo in San Fernando. Her literary talent began to blossom as she wrote poetry during her long walks along the river Tinguiririca.
Personal Life
Mireya married three times throughout her life. In 1949, at the age of 18, she married Francisco Guzmán Sánchez, a lawyer, but their marriage was tragically short-lived as he died just four months later from leukemia. Her second marriage was to her second cousin, Vicente Bravo–Malo Cordero, in 1950. The couple traveled frequently, and Mireya began offering poetry recitals during this time. However, their marriage was troubled, and they divorced in 1957. Mireya later married Luis Insua Hilbron in 1960, with whom she had two children and a stable, happy marriage until his death from lung cancer in 1992.
Despite the difficulties of personal loss, including the deaths of three children due to blood incompatibility, Mireya remained resilient. She sought comfort in her literary career and maintained a strong feminist outlook throughout her life.
Literary Career
Mireya’s literary career began in the early 1950s. Her first novel, La pena fuimos nosotras (1953), published under the name Mireya de Bravomalo, was written when she was just 23. This feminist work, focusing on the exploitation and objectification of women in Ecuadorian society, placed Mireya at the forefront of feminist literature in Ecuador. The novel was praised for its bold critique of the limited roles available to women and its portrayal of their struggles. The novel resonated with many women, establishing Mireya as an influential voice for Ecuadorian feminism.
In 1956, she published her first poetry collection, Heliofina, which was prologued by the poet Francisco Granizo Rivadeneira. The collection further solidified her position in Ecuador’s literary scene, combining her poetic heritage with her own lyrical voice.
Her later works include another poetry collection, Las Tres Dimensiones del Sol (1967), which reflected her evolving style, marked by simplicity and emotional depth, and her second novel, Yoimar (1972). Yoimar explored the romantic entanglements of a young woman and an older man, drawing on themes of passion, trauma, and personal growth. The novel was presented in New York by the Ecuadorian writer Zoila María Castro, highlighting Mireya’s international reach.
Mireya often wrote under the pseudonym Marga del Río, particularly when participating in poetry recitals and radio programs. This choice reflected her desire to create an independent literary identity apart from her familial legacy.
Feminism and Legacy
Mireya Romero Plaza was a trailblazer for feminist literature in Ecuador. Her works, particularly La pena fuimos nosotras, broke new ground by addressing the systemic exploitation and objectification of women. Although her feminism was tempered by traditional values, such as the Church’s view of motherhood, her writing inspired many young women of the time to question their roles in society and to seek greater autonomy.
Beyond her feminist contributions, Mireya was active in the cultural life of Ecuador, often participating in literary recitals and discussions. Her writing and activism helped lay the groundwork for subsequent generations of Ecuadorian women writers and feminists.
Recognitions and Accolades
Mireya was recognized for her contribution to Ecuadorian culture and literature, particularly for her pioneering role in feminist discourse. Her works were widely read and discussed in Ecuador, with La pena fuimos nosotras being serialized in the Guayaquil newspaper La Prensa. Her poetic and novelistic output was appreciated for its lyrical beauty and emotional insight.
Although Mireya was not widely engaged with formal literary circles—preferring to maintain her independence—she received praise from contemporaries such as Elías Candel, who celebrated her literary prowess in Ecuador’s leading newspapers.
Final Years and Death
Mireya continued writing in her later years, producing poetry and starting a new novel after the death of her third husband in 1992. She remained a free spirit, deeply committed to her literary craft, her family, and her feminist principles. Mireya Romero Plaza passed away in July 2014, leaving behind a legacy of literary achievement and feminist advocacy.
Works
Novel
- La pena fuimos nosotras (Guayaquil, Ecuador: Imprenta Municipal, 1953)
- Yoimar (1972)
Poetry
- Heliofania (Quito Victoria 1956)
- Las Tres dimensiones del Sol (1967)
Origin of first name
Mireya was named after a long poem of the same name (Mirèio) by French writer Frédéric Mistral, who won the Nobel Prize in literature in 1904.
Name variations
- Mireya de Bravomalo
- Mireya Bravomalo
- Mireya Romero Plaza
- Mireya Romero Plaza de Bravomalo
- Mireya Romero y Cordero
- Marga del Río
References
- Rodolfo Pérez Pimentel, “Romero Mireya y Cordero Plaza.” Retrieved on October 19, 2024. Click to view.
- El Universo, “Amor, recuerdos y entereza de una ‘nona’ en exposición de Fernando Insua.” Retrieved on October 19, 2024. Click to view.
- Casa de la Cultura Ecuatoriana, “La pena fuimos nosotras.” Retrieved on October 19, 2024. Click to view.
- Biblioteca Municipal de Cuenca, “Romero y Cordero Mireya.” Retrieved on October 19, 2024. Click to view.
- University of Florida Digital Collections, “Amazons and Artists: Female Representation in Ecuadorian Literature by Michael Handelsman.” Retrieved on October 19, 2024. Click to view.