and other members of the group of 27 also went into exile to America, such as was the case of Emilio Prados and Luis Cernuda. During all the changes, their life was not easy. The couple had no children, and they endured their separation from their roots very differently. Ernestina's husband, Juan José Domenchina, did not adapt to her new life as an exile, and died prematurely in 1959; she, for her part, came to have strong feelings of union with this new "homeland". During this time her work took on a hitherto unexplored mysticism, and in 1952 she asked to join Opus Dei. During this time she wrote Hai-kais espirituales (1967), Cartas cerradas (1968) and Poemas del ser y del estar (1972). Return from exile In 1972, Champourcín returned to Spain. The return was not easy and she had to go through a new period of adaptation to her own country, an experience that gave rise to feelings that she reflected in works such as Primer exilio (1978). Feelings of loneliness and old age and an invasion of memories of the places she had been in and the people she had lived with flooded each of her later poems: La pared transparente (1984), Huyeron todas las islas (1988), Los encuentros frustrados (1991), Del vacío y sus dones (1993) and Presencia del pasado (1996). The work entitled La ardilla y la rosa (Juan Ramón en mi memoria) (1981) is an annotated selection of her correspondence with Zenobia Camprubí, published by the Zenobia-Juan Ramón Jiménez Foundation as Los libros de Fausto . Zenobia, for her part, published a small and revealing book entitled Vivir con Juan Ramón , which condenses pages from her "Diario" from 1916 and its text Juan Ramón y yo. Death and legacy Champourcin died in Madrid on 27 March 1999. Her personal archive is stored in the Archivo General of the University of Navarra and is open access. According to Emilio Lamo de Espinosa, professor of sociology at the Universidad Complutense de Madrid and Champourcín's nephew, one of the reasons for the silence about the work of this Spanish writer is her mysticism. For this author, the intimacy of her work and the growing weight of religious poetry meant that she was not taken into account either for her great social work and her commitment to the republican cause or for her activities in favor of the