Camerina Pavón was baptized at the Mexico City Metropolitan Cathedral and was the fourth daughter of the criminal lawyer and public defender, José María Pavón González del Castillo (1827-1900), born in Mexico City and his wife, Manuela Oviedo Ortiz de Pavón (1835-1893), originally from Álamos, Sonora, who were progressive, political supporters, in times of the Empire and the Itinerant Republic of Benito Juárez, of the Restored Republic and the Porfiriato, to educate in Humanities their daughters so that they would not only sew, embroider and play the piano, as was the case at that time for Mexican women of high social classes.

To cope better with things, the family moved to Doctora 118 Street in Tacubaya, then a suburb of Mexico City.

She published her poetry in the liberal newspaper El Monitor Republicano, founded and directed by the Mexican journalist Vicente García Torres, and in the Diario del Hogar of Filomeno Mata, who described her as a "distinguished collaborator."

Among her production, is the verse she wrote to Matilde Montoya, the first woman [1] who studied and practiced medicine professionally in Mexico: I want, Matilde, in the name of my sex, to dedicate my song to you, so moved because you have opened a bright future to women in the venturous life... She participated in the gatherings of intellectuals and writers and was part of the circle of Mexican poets who prepared to send her work to the Chicago exhibition.

Also, an unpublished verse called Último canto ("Last Song") and dedicated to her "idolized mother" that the poet wrote a few days earlier when her mother died was included in the publication: Si hay un dolor que llegue al infinito, Es de una madre la eternal ausencia, Que afecto como el suyo, tan bendito, No se vuelve a encontrar en la existencia.