[2] She has written for various media outlets, such as the La Vanguardia supplement Culturas, Babelia and El Viajero of El País, and her texts have appeared in the literary magazines Turia, Eñe [es], Gatopardo, Revista de Occidente, and Letras Libres, as well as Columbia University's Circumference.

In this regard, the author explains: My contact with the poetic world in Spain came thanks to the scholarship I received from the Residencia de Estudiantes to reside there for 2 years, from 2004 to 2006.

After the publication of La nueva taxidermia, a book that brings together two novellas, Ricardo Senabre [es] from El Cultural commented: Here is a writer with remarkable doses of originality.

Among the authors who have not passed the quarantine, Mercedes Cebrián (Madrid, 1971) stands out for adjusting more than others to one of the canonical principles of literature: the ability to offer new angles of reality, unforeseen views and verbal associations capable of achieving what Fernando de Herrera attributed to poetry as something primordial: that, thanks to the special manipulation of the language that the author practices, common things seem new.

[4]Mercedes Cebrián has been associated with the Nocilla Generation,[5] an evaluation with which she does not agree, although she recognizes that with her "there are points of intersection, such as an interest in talking about the contemporary world.