Another theme throughout AfroCuban women's literature is the idea of the African motherland. Mother Africa is sometimes depicted as a physical mother figure, such as Minerva Salado’s poem "Song of the Acana Tree" in which the author expresses kinship with Africa. With other writers, such as poet Nancy Morejon, mother Africa represents what Mirar Adentro calls the "theme of origin". From this second perspective, Cuba is the homeland, and Africa is the historical root that helps to explain identity. A consciousness of the past, including African heritage and slavery, are part of the construction of character today, which is often expressed by Morejon's poetry. Two famous examples of such poetry by Morejon are "Black Woman" and "I Love My Master", which illustrate traits that are characteristic of Morejon's poetry: they call upon historical events and collective experiences to help establish identity as an AfroCuban and as a woman. Though such themes are prevalent among black and mulatta women writers, even white female writers often focus on themes of Africa and African cultural roots—Minerva Salado is one example. Some have explained this unique characteristic of Cuban literature as stemming from the fact that Cuban national culture is a transcultured one, in which neither the Spanish or African cultural elements are dominated or eliminated, but instead combined into a cohesive new culture. This unique characteristic allows non-black Cuban women to identify with the themes of AfroCuban women, and Davies argues that the real question is simply to what extent each author identifies with Africa and how she identifies herself as a Cuban.