Some Poems

City That Does Not Sleep

City That Does Not Sleep

In the sky there is nobody asleep. Nobody, nobody.
Nobody is asleep.
The creatures of the moon sniff and prowl about their cabins.
The living iguanas will come and bite the men who do not dream,
and the man who rushes out with his spirit broken will meet on the
street corner
the unbelievable alligator quiet beneath the tender protest of the
stars.


Nobody is asleep on earth. Nobody, nobody.
Nobody is asleep.
In a graveyard far off there is a corpse
who has moaned for three years
because of a dry countryside on his knee;
and that boy they buried this morning cried so much
it was necessary to call out the dogs to keep him quiet.


Life is not a dream. Careful! Careful! Careful!
We fall down the stairs in order to eat the moist earth
or we climb to the knife edge of the snow with the voices of the dead
dahlias.
But forgetfulness does not exist, dreams do not exist;
flesh exists. Kisses tie our mouths
in a thicket of new veins,
and whoever his pain pains will feel that pain forever
and whoever is afraid of death will carry it on his shoulders.


One day
the horses will live in the saloons
and the enraged ants
will throw themselves on the yellow skies that take refuge in the
eyes of cows.


Another day
we will watch the preserved butterflies rise from the dead
and still walking through a country of gray sponges and silent boats
we will watch our ring flash and roses spring from our tongue.
Careful! Be careful! Be careful!
The men who still have marks of the claw and the thunderstorm,
and that boy who cries because he has never heard of the invention
of the bridge,
or that dead man who possesses now only his head and a shoe,
we must carry them to the wall where the iguanas and the snakes
are waiting,
where the bear's teeth are waiting,
where the mummified hand of the boy is waiting,
and the hair of the camel stands on end with a violent blue shudder.


Nobody is sleeping in the sky. Nobody, nobody.
Nobody is sleeping.
If someone does close his eyes,
a whip, boys, a whip!



Let there be a landscape of open eyes
and bitter wounds on fire.
No one is sleeping in this world. No one, no one.
I have said it before.


No one is sleeping.
But if someone grows too much moss on his temples during the
night,
open the stage trapdoors so he can see in the moonlight
the lying goblets, and the poison, and the skull of the theaters.

Lament for Ignacio Sánchez Mejías

Lament for Ignacio Sánchez Mejías

1. Cogida and death
At five in the afternoon.
It was exactly five in the afternoon.
A boy brought the white sheet
at five in the afternoon.
A frail of lime ready prepared
at five in the afternoon.
The rest was death, and death alone.


The wind carried away the cottonwool
at five in the afternoon.
And the oxide scattered crystal and nickel
at five in the afternoon.
Now the dove and the leopard wrestle
at five in the afternoon.
And a thigh with a desolated horn
at five in the afternoon.
The bass-string struck up
at five in the afternoon.
Arsenic bells and smoke
at five in the afternoon.
Groups of silence in the corners
at five in the afternoon.
And the bull alone with a high heart!
At five in the afternoon.
When the sweat of snow was coming
at five in the afternoon,
when the bull ring was covered with iodine
at five in the afternoon.
Death laid eggs in the wound
at five in the afternoon.
At five in the afternoon.
At five o'clock in the afternoon.


A coffin on wheels is his bed
at five in the afternoon.
Bones and flutes resound in his ears
at five in the afternoon.
Now the bull was bellowing through his forehead
at five in the afternoon.
The room was iridiscent with agony
at five in the afternoon.
In the distance the gangrene now comes
at five in the afternoon.
Horn of the lily through green groins
at five in the afternoon.
The wounds were burning like suns
at five in the afternoon.
At five in the afternoon.
Ah, that fatal five in the afternoon!
It was five by all the clocks!



It was five in the shade of the afternoon!

2. The Spilled Blood
I will not see it!

Tell the moon to come,
for I do not want to see the blood
of Ignacio on the sand.


I will not see it!


The moon wide open.
Horse of still clouds,
and the grey bull ring of dreams
with willows in the barreras.


I will not see it!


Let my memory kindle!
Warm the jasmines
of such minute whiteness!


I will not see it!


The cow of the ancient world
passed har sad tongue
over a snout of blood
spilled on the sand,
and the bulls of Guisando,
partly death and partly stone,
bellowed like two centuries
sated with threading the earth.
No.
I will not see it!


Ignacio goes up the tiers
with all his death on his shoulders.
He sought for the dawn
but the dawn was no more.
He seeks for his confident profile
and the dream bewilders him
He sought for his beautiful body
and encountered his opened blood
Do not ask me to see it!
I do not want to hear it spurt
each time with less strength:
that spurt that illuminates
the tiers of seats, and spills
over the cordury and the leather
of a thirsty multiude.
Who shouts that I should come near!



Do not ask me to see it!


His eyes did not close
when he saw the horns near,
but the terrible mothers
lifted their heads.
And across the ranches,
an air of secret voices rose,
shouting to celestial bulls,
herdsmen of pale mist.
There was no prince in Sevilla
who could compare to him,
nor sword like his sword
nor heart so true.
Like a river of lions
was his marvellous strength,
and like a marble toroso
his firm drawn moderation.
The air of Andalusian Rome
gilded his head
where his smile was a spikenard
of wit and intelligence.
What a great torero in the ring!
What a good peasant in the sierra!
How gentle with the sheaves!
How hard with the spurs!
How tender with the dew!
How dazzling the fiesta!
How tremendous with the final
banderillas of darkness!


But now he sleeps without end.
Now the moss and the grass
open with sure fingers
the flower of his skull.
And now his blood comes out singing;
singing along marshes and meadows,
sliden on frozen horns,
faltering soulles in the mist
stoumbling over a thousand hoofs
like a long, dark, sad tongue,
to form a pool of agony
close to the starry Guadalquivir.
Oh, white wall of Spain!
Oh, black bull of sorrow!
Oh, hard blood of Ignacio!
Oh, nightingale of his veins!
No.
I will not see it!
No chalice can contain it,
no swallows can drink it,
no frost of light can cool it,



nor song nor deluge og white lilies,
no glass can cover mit with silver.
No.
I will not see it!


3. The Laid Out Body
Stone is a forehead where dreames grieve
without curving waters and frozen cypresses.
Stone is a shoulder on which to bear Time
with trees formed of tears and ribbons and planets.


I have seen grey showers move towards the waves
raising their tender riddle arms,
to avoid being caught by lying stone
which loosens their limbs without soaking their blood.


For stone gathers seed and clouds,
skeleton larks and wolves of penumbra:
but yields not sounds nor crystals nor fire,
only bull rings and bull rings and more bull rings without walls.


Now, Ignacio the well born lies on the stone.
All is finished. What is happening! Contemplate his face:
death has covered him with pale sulphur
and has place on him the head of dark minotaur.


All is finished. The rain penetrates his mouth.
The air, as if mad, leaves his sunken chest,
and Love, soaked through with tears of snow,
warms itself on the peak of the herd.


What is they saying? A stenching silence settles down.
We are here with a body laid out which fades away,
with a pure shape which had nightingales
and we see it being filled with depthless holes.


Who creases the shroud? What he says is not true!
Nobody sings here, nobody weeps in the corner,
nobody pricks the spurs, nor terrifies the serpent.
Here I want nothing else but the round eyes
to see his body without a chance of rest.


Here I want to see those men of hard voice.
Those that break horses and dominate rivers;
those men of sonorous skeleton who sing
with a mouth full of sun and flint.


Here I want to see them. Before the stone.
Before this body with broken reins.
I want to know from them the way out
for this captain stripped down by death.



I want them to show me a lament like a river
wich will have sweet mists and deep shores,
to take the body of Ignacio where it looses itself
without hearing the double planting of the bulls.


Loses itself in the round bull ring of the moon
which feigns in its youth a sad quiet bull,
loses itself in the night without song of fishes
and in the white thicket of frozen smoke.


I don't want to cover his face with handkerchiefs
that he may get used to the death he carries.
Go, Ignacio, feel not the hot bellowing
Sleep, fly, rest: even the sea dies!


4. Absent Soul
The bull does not know you, nor the fig tree,
nor the horses, nor the ants in your own house.
The child and the afternoon do not know you
because you have dead forever.


The shoulder of the stone does not know you
nor the black silk, where you are shuttered.
Your silent memory does not know you
because you have died forever


The autumn will come with small white snails,
misty grapes and clustered hills,
but no one will look into your eyes
because you have died forever.


Because you have died for ever,
like all the dead of the earth,
like all the dead who are forgotten
in a heap of lifeless dogs.


Nobady knows you. No. But I sing of you.
For posterity I sing of your profile and grace.
Of the signal maturity of your understanding.
Of your appetite for death and the taste of its mouth.
Of the sadness of your once valiant gaiety.


It will be a long time, if ever, before there is born
an Andalusian so true, so rich in adventure.
I sing of his elegance with words that groan,
and I remember a sad breeze through the olive trees.

Ode to Walt Whitman

Ode to Walt Whitman

By the East River and the Bronx
boys were singing, exposing their waists
with the wheel, with oil, leather, and the hammer.
Ninety thousand miners taking silver from the rocks
and children drawing stairs and perspectives.


But none of them could sleep,
none of them wanted to be the river,
none of them loved the huge leaves
or the shoreline's blue tongue.


By the East River and the Queensboro
boys were battling with industry
and the Jews sold to the river faun
the rose of circumcision,
and over bridges and rooftops, the mouth of the sky emptied
herds of bison driven by the wind.


But none of them paused,
none of them wanted to be a cloud,
none of them looked for ferns
or the yellow wheel of a tambourine.


As soon as the moon rises
the pulleys will spin to alter the sky;
a border of needles will besiege memory
and the coffins will bear away those who don't work.


New York, mire,
New York, mire and death.
What angel is hidden in your cheek?
Whose perfect voice will sing the truths of wheat?
Who, the terrible dream of your stained anemones?


Not for a moment, Walt Whitman, lovely old man,
have I failed to see your beard full of butterflies,
nor your corduroy shoulders frayed by the moon,
nor your thighs pure as Apollo's,
nor your voice like a column of ash,
old man, beautiful as the mist,
you moaned like a bird
with its sex pierced by a needle.
Enemy of the satyr,
enemy of the vine,
and lover of bodies beneath rough cloth...


Not for a moment, virile beauty,
who among mountains of coal, billboards, and railroads,
dreamed of becoming a river and sleeping like a river
with that comrade who would place in your breast
the small ache of an ignorant leopard.



Not for a moment, Adam of blood, Macho,
man alone at sea, Walt Whitman, lovely old man,
because on penthouse roofs,
gathered at bars,
emerging in bunches from the sewers,
trembling between the legs of chauffeurs,
or spinning on dance floors wet with absinthe,
the faggots, Walt Whitman, point you out.


He's one, too! That's right! And they land
on your luminous chaste beard,
blonds from the north, blacks from the sands,
crowds of howls and gestures,
like cats or like snakes,
the faggots, Walt Whitman, the faggots,
clouded with tears, flesh for the whip,
the boot, or the teeth of the lion tamers.


He's one, too! That's right! Stained fingers
point to the shore of your dream
when a friend eats your apple
with a slight taste of gasoline
and the sun sings in the navels
of boys who play under bridges.


But you didn't look for scratched eyes,
nor the darkest swamp where someone submerges children,
nor frozen saliva,
nor the curves slit open like a toad's belly
that the faggots wear in cars and on terraces
while the moon lashes them on the street corners of terror.


You looked for a naked body like a river.
Bull and dream who would join wheel with seaweed,
father of your agony, camellia of your death,
who would groan in the blaze of your hidden equator.


Because it's all right if a man doesn't look for his delight
in tomorrow morning's jungle of blood.
The sky has shores where life is avoided
and there are bodies that shouldn't repeat themselves in the dawn.


Agony, agony, dream, ferment, and dream.
This is the world, my friend, agony, agony.
Bodies decompose beneath the city clocks,
war passes by in tears, followed by a million gray rats,
the rich give their mistresses
small illuminated dying things,
and life is neither noble, nor good, nor sacred.


Man is able, if he wishes, to guide his desire
through a vein of coral or a heavenly naked body.



Tomorrow, loves will become stones, and Time
a breeze that drowses in the branches.


That's why I don't raise my voice, old Walt Whitman,
against the little boy who writes
the name of a girl on his pillow,
nor against the boy who dresses as a bride
in the darkness of the wardrobe,
nor against the solitary men in casinos
who drink prostitution's water with revulsion,
nor against the men with that green look in their eyes
who love other men and burn their lips in silence.


But yes against you, urban faggots,
tumescent flesh and unclean thoughts.
Mothers of mud. Harpies. Sleepless enemies
of the love that bestows crowns of joy.


Always against you, who give boys
drops of foul death with bitter poison.
Always against you,
Fairies of North America,
Pájaros of Havana,
Jotos of Mexico,
Sarasas of Cádiz,
Apios of Seville,
Cancos of Madrid,
Floras of Alicante,
Adelaidas of Portugal.


Faggots of the world, murderers of doves!
Slaves of women. Their bedroom bitches.
Opening in public squares like feverish fans
or ambushed in rigid hemlock landscapes.


No quarter given! Death
spills from your eyes
and gathers gray flowers at the mire's edge.
No quarter given! Attention!
Let the confused, the pure,
the classical, the celebrated, the supplicants
close the doors of the bacchanal to you.


And you, lovely Walt Whitman, stay asleep on the Hudson's banks
with your beard toward the pole, openhanded.
Soft clay or snow, your tongue calls for
comrades to keep watch over your unbodied gazelle.


Sleep on, nothing remains.
Dancing walls stir the prairies
and America drowns itself in machinery and lament.
I want the powerful air from the deepest night



to blow away flowers and inscriptions from the arch where you sleep,
and a black child to inform the gold-craving whites
that the kingdom of grain has arrived.
Federico García Lorca (5 June 1898 – 19 August 1936) Federico del Sagrado Corazón de Jesús García Lorca was a Spanish poet, dramatist and theatre director. García Lorca achieved international recognition as an emblematic member of the Generation of '27. He may have been shot by anti-communist forces during the Spanish Civil War In 2008, a Spanish judge opened an investigation into Lorca's death. The Garcia Lorca family eventually dropped objections to the excavation of a potential gravesite near Alfacar. However, no human remains were found. Life and career Early years García Lorca was born on 5 June 1898, in Fuente Vaqueros, a small town a few miles west of Granada, southern Spain.His father, Federico García Rodríguez, was a landowner with a farm in the fertile vega surrounding Granada and a comfortable villa in the heart of the city. García Rodríguez saw his fortunes rise with a boom in the sugar industry. García Lorca's mother, Vicenta Lorca Romero, was a teacher and gifted pianist. In 1909, when the boy was 11, his family moved to the city of Granada. For the rest of his life, he maintained the importance of living close to the natural world, praising his upbringing in the country. In 1915, after graduating from secondary school, García Lorca attended Sacred Heart University. During this time his studies included law, literature and composition. Throughout his adolescence he felt a deeper affinity for theatre and music than literature, training fully as a classical pianist, his first artistic inspirations arising from the scores of Debussy, Chopin and Beethoven. Later, with his friendship with composer Manuel de Falla Spanish folklore became his muse. García Lorca did not begin a career in writing until his piano teacher died in 1916 and his first prose works such as "Nocturne", "Ballade" and "Sonata" drew on musical forms. His milieu of young artists gathered in El Rinconcillo at the cafe Alameda in Granada. During 1916 and 1917, García Lorca traveled throughout Castile, Léon, and Galicia, in northern Spain, with a professor of his university, who also encouraged him to write his first book, Impresiones y Paisajes (Impressions and Landscapes – published 1918). Don Fernando de los Rios persuaded García Lorca's parents to allow the boy to enrol at the progressive, Oxbridge-inspired Residencia de estudiantes in Madrid in 1919. As a young writer At the Residencia de estudiantes in Madrid García Lorca befriended Manuel de Falla, Luis Buñuel and Salvador Dalí and many other creative artists who were, or would become, influential across Spain. He was taken under the wing of the poet Juan Ramon Jimenez, becoming close to playwright Eduardo www.PoemHunter.com - The World's Poetry Archive Marquina and Gregorio Martínez Sierra, the Director of Madrid's Teatro Eslava.In 1919–20, at Sierra's invitation, he wrote and staged his first play, El maleficio de la mariposa (The Butterfly's Evil Spell). It was a verse play dramatising the impossible love between a cockroach and a butterfly, with a supporting cast of other insects; it was laughed off stage by an unappreciative public after only four performances and influenced García Lorca's attitude to the theatre-going public for the rest of his career. He would later claim that Mariana Pineda, written in 1927, was, in fact, his first play. During the time at the Residencia de estudiantes he pursued degrees in law and philosophy, though he had more interest in writing than study. García Lorca's first book of poems was published in 1921, collecting work written from 1918 and selected with the help of his brother Francisco. They concern the themes of religious faith, isolation and nature that had filled his prose reflections. Early in 1922 at Granada García Lorca joined the composer Manuel de Falla in order to promote the Concurso de Cante Jondo, a festival dedicated to enhance flamenco performance. The year before Lorca had begun to write his Poema del cante jondo ("Poem of the deep song", not published until 1931), so he naturally composed an essay on the art of flamenco, and began to speak publicly in support of the Concurso. At the music festival in June he met the celebrated Manuel Torre, a flamenco cantaor. The next year in Granada he also collaborated with Falla and others on the musical production of a play for children, adapted by Lorca from an Andalucian story. Inspired by the same structural form of sequence as "Deep song", his collection Suites (1923) was never finished and not published until 1983. Over the next few years García Lorca became increasingly involved in Spain's avant-garde. He published poetry collections including Canciones (Songs) and Romancero Gitano (Gypsy Ballads, 1928), which became his best known book of poetry. It was a highly stylised imitation of the ballads and poems that were still being told throughout the Spanish countryside. Philologists such as Ramón Menéndez Pidal worked with him to collect versions from the south, many in existence since the Middle Ages. García Lorca describes the work as a "carved altar piece" of Andalusia with "gypsies, horses, archangels, planets, its Jewish and Roman breezes, rivers, crimes, the everyday touch of the smuggler and the celestial note of the naked children of Córdoba. A book that hardly expresses visible Andalusia at all, but where the hidden Andalusia trembles". In 1928, the book brought him fame across Spain and the Hispanic world, and he only gained notability as a playwright much later. For the rest of his life, the writer would search for the elements of Andaluce culture, trying to find its essence without resorting to the "picturesque" or the cliched use of "local colour". His second play, Mariana Pineda, with stage settings by Salvador Dalí, opened to great acclaim in Barcelona in 1927. In 1926, García Lorca wrote the play The Shoemaker's Prodigious Wife, which would not be shown until the early 1930s. It was a farce about fantasy, based on the relationship between a flirtatious, petulant wife and a hen-pecked shoemaker. From 1925 to 1928 he was passionately involved with Dalí. The friendship with Lorca had a strong element of mutual passion, but Dalí (decades later) rejected the erotic advances of the poet. With the success of "Gypsy Ballads", came an estrangement from Dali and the breakdown of a love affair with sculptor Emilio Soriano Aladrén. These brought on an increasing depression, a situation exacerbated by his anguish over his homosexuality. He felt he was trapped between the persona of the successful author, which he was forced to maintain in public, and the tortured, authentic self, which he could only acknowledge in private. He also had the sense that he was being pigeon-holed as a "gypsy poet". He wrote: "The gypsies are a theme. And nothing more. I could just as well be a poet of sewing needles or hydraulic landscapes. Besides, this gypsyism gives me the appearance of an uncultured, ignorant and primitive poet that you know very well I’m not. I don't want to be typecast". Growing estrangement between García Lorca and his closest friends reached its climax when surrealists Dalí and Luis Buñuel collaborated on their 1929 film Un Chien Andalou (An Andalusian Dog). García Lorca interpreted it, perhaps erroneously, as a vicious attack upon www.PoemHunter.com - The World's Poetry Archive himself. At this time Dalí also met his future wife Gala. Aware of these problems (though not perhaps of their causes), García Lorca's family arranged for him to take a lengthy visit to the United States in 1929–30. Green wind. Green branches. The ship out on the sea and the horse on the mountain. With the shadow at the waist she dreams on her balcony, green flesh, green hair, with eyes of cold silver. "Romance Sonámbulo" ("Ballad of the Sleepwalker)" In June 1929, García Lorca travelled to America with Fernando de los Rios on the SS Olympic, a sister liner to the Titanic.They stayed mostly in New York City, where Rios started a lecture tour and García Lorca enrolled at Columbia University School of General Studies, funded by his parents. He studied English but, as before, was more absorbed by writing than study. He also spent time in Vermont and later in Havana, Cuba. His collection Poeta en Nueva York (A poet in New York, published posthumously in 1942) explores alienation and isolation through some graphically experimental poetic techniques and was influenced by the Wall Street crash which he personally witnessed. This condemnation of urban capitalist society and materialistic modernity was a sharp departure from his earlier work and label as a folklorist. His play of this time, El Público (The Public), was not published until the late 1970s and has never been published in its entirety, the manuscript lost. However, the Hispanic Society of America in New York City retains several of his personal letters. The Republic García Lorca's return to Spain in 1930 coincided with the fall of the dictatorship of Primo de Rivera and the re-establishment of the Spanish Republic. In 1931, García Lorca was appointed as director of a university student theatre company, Teatro Universitario la Barraca (The Shack). This was funded by the Second Republic's Ministry of Education, and it was charged with touring Spain's remotest rural areas in order to introduce audiences to radically modern interpretations of classic Spanish theatre free of charge. With a portable stage, and little equipment, they sought to bring theatre to people who had never seen any, with García Lorca directing as well as acting. He commented: "Outside of Madrid, the theatre, which is in its very essence a part of the life of the people, is almost dead, and the people suffer accordingly, as they would if they had lost their two eyes, or ears, or a sense of taste. We [La Barraca] are going to give it back to them". His experiences of travelling through impoverished rural Spain and New York, (particularly amongst the disenfranchised African American population), transformed him into a passionate advocate of the theatre of social action. He wrote "The theatre is a school of weeping and of laughter, a free forum, where men can question norms that are outmoded or mistaken and explain with living example the eternal norms of the human heart". While touring with La Barraca, García Lorca wrote his now best-known plays, the Rural Trilogy of Bodas de Sangre (Blood Wedding), Yerma and La Casa de Bernarda Alba (The House of Bernarda Alba), which all rebelled against the norms of bourgeois Spanish society. He called for a rediscovery of the roots of European theatre and the questioning of comfortable conventions such as the popular drawing room comedies of the time. His work challenged the accepted role of women in society and explored taboo issues of homoeroticism and class. García Lorca wrote little poetry in this last period of his life, declaring in 1936, “theatre is poetry that rises from the book and becomes human enough to talk and shout, weep and despair.” Travelling to Buenos Aires in 1933 to give lectures and direct the Argentine premiere of Blood Wedding, García Lorca spoke of his distilled theories on artistic creation and performance in the famous lecture Play and Theory of the Duende. This attempted to define a schema of artistic inspiration, www.PoemHunter.com - The World's Poetry Archive arguing that great art depends upon a vivid awareness of death, connection with a nation's soil, and an acknowledgment of the limitations of reason. As well as returning to the classical roots of theatre, García Lorca also turned to traditional forms in poetry. His last poetic work Sonnets to his dark love (1936) was inspired by a passion for Rafael Rodriguez Rapun, secretary of La Barraca. The love sonnets are inspired by the 16th century poet San Juan de la Cruz. La Barraca's subsidy was cut in half by the new government in 1934, and its last performance was given in April 1936. Lorca kept Huerta de San Vicente as his summer house in Granada from 1926 to 1936. Here he wrote, totally or in part, some of his major works, among them When Five Years Pass (Así que pasen cinco años) (1931), Blood Wedding (Bodas de sangre) (1932), Yerma (1934) and Diván del Tamarit (1931–1936). The poet lived in the Huerta de San Vicente in the days just before his arrest and assassination in August 1936. Although García Lorca's artwork doesn't often receive attention he was also a keen artist. Death García Lorca left Madrid for his family home in Granada only three days before the Spanish Civil War broke out (July 1936).The Spanish political and social climate had greatly intensified after the murder of prominent monarchist and anti-Popular Front spokesman José Calvo Sotelo by Republican Assault Guards (Guardia de Asalto).[26] García Lorca knew that he would be suspect to the rising right wing for his outspoken liberal views.On 18 August, his brother-in-law, Manuel Fernández-Montesinos, the leftist mayor of Granada, was shot. Lorca was arrested that same afternoon. It is thought that García Lorca was shot and killed by Nationalist militia on 19 August 1936. The author Ian Gibson in his book The Assassination of García Lorca alleges that he was shot with three others (Joaquin Arcollas Cabezas, Francisco Galadi Mergal and Dioscoro Galindo Gonzalez) at a place known as the Fuente Grande, or Great Fountain in Spanish, which is on the road between Viznar and Alfacar. Motives for assassination Significant controversy remains about the motives and details of Lorca's murder. Personal, non-political motives have also been suggested. García Lorca's biographer, Stainton, states that his killers made remarks about his sexual orientation, suggesting that it played a role in his death. Ian Gibson suggests that García Lorca's assassination was part of a campaign of mass killings intended to eliminate supporters of the Marxist Popular Front. However, Gibson proposes that rivalry between the anti-communist Spanish Confederation of the Autonomous Right (CEDA) and the Falange was a major factor in Lorca's death. Former CEDA Parliamentary Deputy Ramon Ruiz Alonso arrested García Lorca at the Rosales' home, and was the one responsible for the original denunciation that led to the arrest warrant being issued. It has been argued that García Lorca was apolitical and had many friends in both Republican and Nationalist camps. Gibson disputes this in his 1978 book about the poet's death. He cites, for example, Mundo Obrero's published manifesto, which Lorca later signed, and alleges that Lorca was an active supporter of the Popular Front.[33] Lorca read this manifesto out at a banquet in honour of fellow poet Rafael Alberti on 9 February 1936. Many anti-communists were sympathetic to Lorca or assisted him. In the days before his arrest he found shelter in the house of the artist and leading Falange member Luis Rosales. Indeed, evidence suggests that Rosales was very nearly shot as well for helping García Lorca by the Civil Governor Valdes.The Basque Communist poet Gabriel Celaya wrote in his memoirs that he once found García Lorca in the company of Falangist José Maria Aizpurua. Celaya further wrote that Lorca dined every Friday with Falangist founder www.PoemHunter.com - The World's Poetry Archive and leader José Antonio Primo de Rivera. On 11 March 1937 an article appeared in the Falangist press denouncing the murder and lionizing García Lorca; the article opened: "The finest poet of Imperial Spain has been assassinated." Jean-Louis Schonberg also put forward the 'homosexual jealousy' theory.The dossier on the murder, compiled at Franco's request and referred to by Gibson and others, has yet to surface. The first published account of an attempt to locate Lorca's grave can be found in British traveller and Hispanist Gerald Brenan's book 'The Face of Spain'. Despite early attempts such as Brenan's in 1949, the site remained undiscovered throughout the Francoist era. Excavation at Alfácar In late October 2009, a team of archaeologists and historians from the University of Granada began excavations outside Alfácar.The site was identified three decades ago by a man who claimed to have helped dig Lorca's grave.Lorca was thought to be buried with at least three other men beside a winding mountain road that connects the villages of Viznar and Alfácar. There is a growing desire in Spain to come to terms with the civil war, which for decades was not openly discussed. The judge in the case, Baltasar Garzón, formally requested local government and churches to open their files on the thousands of people who disappeared during the Civil War and under the dictatorship of General Franco until 1975. The excavations began at the request of another victim's family. Following a long-standing objection, the Lorca family also gave their permission. In October 2009 Francisco Espinola, a spokesman for the Justice Ministry of the Andalusian regional government, said that after years of pressure García Lorca's body would "be exhumed in a matter of weeks". Lorca's relatives, who had initially opposed an exhumation, said they might provide a DNA sample in order to identify his remains. In late November 2009, after two weeks of excavating the site, organic material believed to be human bones was recovered. The remains were taken to the University of Granada for examination. But in mid December 2009, doubts were raised as to whether the poet's remains would be found. The dig produced "not one bone, item of clothing or bullet shell", saidBegoña Álvarez, justice minister of Andalucia. She added, "the soil was only 40cm (16in) deep, making it too shallow for a grave." Censorship Francisco Franco's Falangist regime placed a general ban on García Lorca's work, which was not rescinded until 1953. That year, a (censored) Obras Completas (Complete works) was released. Following this, Bodas de Sangre (Blood Wedding), Yerma and La casa de Bernarda Alba (The House of Bernarda Alba) were successfully played on the main Spanish stages. Obras Completas did not include his late heavily homoerotic Sonnets of Dark Love, written in November 1935 and shared only with close friends. They were lost until 1983/4 when they were finally published in draft form (no final manuscripts have ever been found.) It was only after Franco's death that García Lorca's life and death could be openly discussed in Spain. This was due not only to political censorship, but also to the reluctance of the García Lorca family to allow publication of unfinished poems and plays prior to the publication of a critical edition of his works. South African Roman Catholic poet Roy Campbell, who enthusiastically supported the Nationalists both during and after the Civil War, later produced acclaimed translations of Lorca's work. In his poem, The Martyrdom of F. Garcia Lorca, Campbell wrote, Not only did he lose his life By shots assassinated: But with a hammer and a knife www.PoemHunter.com - The World's Poetry Archive Was after that -- translated. Memorials In Granada, the city of his birth, the Parque Federico Garcia Lorca is dedicated to his memory and includes the Huerta de San Vicente, the Lorca family summer home, opened to the public in 1995 as a museum. The grounds, including nearly two hectares of land, the two adjoining houses, artworks and the original furnishings have been preserved. There is a new statue of Lorca on the Avenida de la Constitución in the city centre, and a new cultural centre bearing his name is currently under construction and will play a major role in preserving and disseminating his works. The Parque Federico Garcia Lorca, in Alfacar, is situated close to Fuente Grande and was the location of the unsuccessful 2009 excavations that failed to locate Lorca´s resting place. Close to the olive tree indicated by some as marking the location of the grave, there is a stone memorial to Federico Garcia Lorca and all victims of the Civil War, 1936-39. Flowers are laid at the memorial every year on the anniversary of his death, and a commemorative event including music and readings of the poet´s works is held every year in the park to mark the anniversary. On the 17th August 2011, to remember the 75th anniversary of Lorca´s assassination and to celebrate his life and legacy, this event included dance, song, poetry and dramatic readings and attracted hundreds of spectators. At the Barranco de Viznar, between Viznar and Alfacar, there is a memorial stone bearing the words "Lorca eran todos, 18-8-2002". The Barranco de Viznar is the site of mass graves and was proposed as another possible location of the poet´s remains. García Lorca is honoured by a statue prominently located in Madrid's Plaza de Santa Ana. Political philosopher David Crocker reports that "the statue, at least, is still an emblem of the contested past: "each day, the Left puts a red kerchief on the neck of the statue, and someone from the Right comes later to take it off." The Lorca Foundation, directed by Lorca's niece Laura García Lorca, sponsors the celebration and dissemination of the writer's work and is currently building the Lorca Centre in Madrid. The Lorca family gave all Lorca's documentation to the foundation which holds it on their behalf. Poetry based on Lorca Greek poet Nikos Kavvadias's poem Federico García Lorca, in Kavvadias' Marabu collection, is dedicated to the memory of García Lorca and juxtaposes his death with war crimes in the village of Distomo, Greece, and in Kessariani in Athens, where the Nazis executed over two hundred people in each city. Allen Ginsberg's poem "A Supermarket in California" makes mention to Lorca mysteriously acting out with a watermelon. Spanish poet Luis Cernuda, who is also part of the Generation of '27, wrote the elegy A un poeta muerto (F.G.L.). Hungarian poet Miklos Radnoti also wrote a poem about García Lorca in 1937 entitled Federico García Lorca. The New York based Spanish language poet Giannina Braschi published El imperio de los sueños, a poetic homage to Poet in New York (1st edition: Anthropos editorial del hombre, 1988; 2nd edition: Editorial de la Universidad de Puerto Rico). Bob Kaufman and Gary Mex Glazner have both written tribute poems entitled Lorca. www.PoemHunter.com - The World's Poetry Archive Harold Norse has a poem, We Bumped Off Your Friend the Poet, inspired by a review of Ian Gibson's Death of Lorca. The poem first appeared in Hotel Nirvana, and more recently in In the Hub of the Fiery Force, Collected Poems of Harold Norse 1934–2003 The Spanish poet Antonio Machado wrote the poem El Crimen Fue en Granada, in reference to García Lorca's death. The Turkish poet Turgut Uyar wrote the poem Three Poems For Federico García Lorca including a line in Spanish:obra completas The Irish poet Michael Hartnett published an English translation of García Lorca's poetry. García Lorca is also a recurring character in much of Hartnett's poetry, most notably in the poem A Farewell to English.. Deep image, a poetic form coined by Jerome Rothenberg and Robert Kelly, is inspired by García Lorca's Deep Song. Vietnamese poet Thanh Thao wrote The guitar of Lorca and was set to music by Thanh Tung. A Canadian poet named John Mackenzie published several poems inspired by García Lorca in his collection Letters I Didn't Write, including one titled Lorca's Lament. In 1945, Greek poet Odysseas Elytis (Nobel Prize for Literature, 1979) translated and published part of García Lorca's Romancero Gitano. Pablo Neruda wrote Ode to Federico García Lorca (1935) and Eulogy For Federico García Lorca. Robert Creeley wrote a poem called "After Lorca" (1952) Jack Spicer wrote a book of poems called "After Lorca" (1957). The Russian poet Yevgeni Yevtushenko wrote the poem "When they murdered Lorca" in which he portrays Lorca as being akin to Don Quixote—an immortal symbol of one's devotion to his ideals and perpetual struggle for them. British poet John Siddique wrote "Desire for Sight (After Lorca)" included in Poems from a Northern Soul Musical works based on Lorca Spanish flamenco singer Camarón de la Isla's album "La leyenda del tiempo" contains lyrics written by or based on works by Lorca and much of the album is about his legacy. Mexican composer Silvestre Revueltas composed Homenaje a Federico García Lorca (a 3 movement work for chamber orchestra) shortly after García Lorca's death, performing the work in Spain during 1937.[59] The Italian avant garde composer Luigi Nono wrote a composition in 1953 entitled Epitaffio per Federico García Lorca. The American composer George Crumb utilizes much of García Lorca's poetry in works such as his Ancient Voices of Children, his four books of Madrigals, and parts of his Makrokosmos. Composer Osvaldo Golijov and playwright David Henry Hwang wrote the www.PoemHunter.com - The World's Poetry Archive one-act opera Ainadamar ("Fountain of Tears") about the death of García Lorca, recalled years later by his friend the actress Margarita Xirgu, who could not save him. It opened in 2003, with a revised version in 2005. A recording of the work released in 2006 on the Deutsche Grammophon label (Catalog #642902) won the 2007 Grammy awards for Best Classical Contemporary Composition and Best Opera Recording. Finnish modernist composer Einojuhani Rautavaara has composed Suite de Lorca ("Lorca-sarja") for a mixed choir to the lyrics of García Lorca's poems Canción de jinete, El grito, La luna asoma and Malagueña (1972). The Pogues dramatically retell the story of his murder in the song 'Lorca's Novena' on their Hell's Ditch album. Reginald Smith Brindle composed the guitar piece Four Poems of Garcia Lorca (1975) and El Polifemo de Oro (for guitar, 1982) based on two Lorca poems Adivinanza de la Guitarra and Las Seis Cuerdas [60] Composer Dmitri Shostakovich wrote the first two movements of his 14th Symphony based around García Lorca poems. The French composer Maurice Ohana set to music García Lorca's poem Lament for the death of a Bullfighter (Llanto por Ignacio Sánchez Mejías) recorded by the conductor Ataúlfo Argenta in the 1950s Spanish rock band Marea made a rock version of the poem Romance de la Guardia Civil española, named "Ciudad de los Gitanos". In 1968, Joan Baez sang translated renditions of García Lorca's poems, "Gacela Of The Dark Death" and "Casida of the Lament" on her spoken-word poetry album, Baptism. In 1986, Leonard Cohen's English translation of the poem "Pequeño vals vienés" by García Lorca reached #1 in the Spanish single charts (as "Take This Waltz", music by Cohen). Cohen has described García Lorca as being his idol in his youth, and named his daughter Lorca Cohen for that reason.[61] Missa Lorca by Italian composer Corrado Margutti (2008) is a choral setting of the Latin Mass text and the poetry of Lorca. U.S. premiere, 2010. In 1967, composer Mikis Theodorakis set to music seven poems of the Romancero Gitano – translated into Greek by Odysseas Elitis in 1945. This work was premiered in Rome in 1970 under the same title. In 1981, under commission of the Komische Oper in Berlin, the composition was orchestrated as a symphonic work entitled Lorca. In the mid 1990s, Theodorakis rearranged the work as an instrumental piece for guitar and symphony orchestra. In 1989, American composer Stephen Edward Dick created new music for Lorca's ballad Romance Sonambulo, based on the original text, and with permission from Lorca's Estate. The piece is set for solo guitar, baritone and flamenco dance, and was performed in 1990 at the New Performance Gallery in San Francisco. The second performance took place in Canoga Park, Los Angeles in 2004. American composer Geoffrey Gordon composed Lorca Musica per cello solo (2000), utilizing themes from his 1995 three act ballet, The House of Bernarda Alba (1995), for American cellist Elizabeth Morrow. The work was recorded on Morrow's Soliloquy CD on the Centaur label and was featured at the 2000 World Cello Congress. Three suites from the ballet, for chamber orchestra, have also been extracted from the ballet score by the composer. The Spanish guitarist José María Gallardo del Rey composed his 'Lorca Suite' in 2003 as a tribute to the great poet. Taking Lorca's folksong compilations 'Canciones Españolas Antiguas' as his starting point, Gallardo del Rey adds the colour and passion of his native Andalucia, incorporating new harmonisations and freely composed link passages that fuse classical and www.PoemHunter.com - The World's Poetry Archive flamenco techniques. Catalán composer Joan Amargós wrote Homenatje a Lorca for alto saxophone in piano. Its three movements are based on three Lorca poems: Los cuatro muleros, Zorongo, and Anda jaleo. Composer Brent Parker wrote Lorca's Last Walk for piano solo. This was on the Grade 7 syllabus of the Royal Irish Academy of Music's piano exams, 2003-2008. Greek musician Thanasis Papakonstantinou composed ..p.. ....' with part of Lorca's "Poeta en Nueva York", translated to Greek by Maria Efstathiadi. Theatre, film and television based on Lorca Federico García Lorca: A Murder in Granada ( 1976) directed by Humberto Lopez y Guerra and produced by the Swedish Television. In October 1980 the New York Times described the transmission of the film by Spanish Television in June that same year as attracting "one of the largest audiences in the history of Spanish Television". Playwright Nilo Cruz wrote the surrealistic drama Lorca in a Green Dress about the life, death, and imagined afterlife of García Lorca. The play was first performed in 2003 at the Oregon Shakespeare Festival. The Cruz play Beauty of the Father (2010) also features Lorca's ghost as a key character. British playwright Peter Straughan wrote a play (later adapted as a radio play) based on García Lorca's life, The Ghost of Federico Garcia Lorca Which Can Also Be Used as a Table. TVE broadcast a six hour mini-series based on key episodes on García Lorca's life in 1987. British actor Nickolas Grace played the poet, although he was dubbed by a Spanish actor. There is a 1997 film called The Disappearance of Garcia Lorca, also known as Death in Granada, based on a biography by Ian Gibson. The film earned an Imagen Award for best film. Miguel Hermoso's La Luz Prodigiosa (The End of a Mystery) is a Spanish film based on Fernando Macías' novel with the same name, which examines what might have happened if García Lorca had survived his execution at the outset of the Spanish Civil War. British Screenwriter Philippa Goslett was inspired by García Lorca's close friendship with Salvador Dalí. The resulting biopic Little Ashes (2009) depicts the relationship in the 1920s and 1930s between García Lorca, Dalí, and Luis Buñuel. Bodas De Sangre (Blood Wedding) is the first part of a ballet / flamenco film trilogy directed by Carlos Saura and starring Antonio Gades and Cristina Hoyos (1981) Works: Poetry collections Impresiones y paisajes (Impressions and Landscapes 1918) Libro de poemas (Book of Poems 1921) Poema del cante jondo (Poem of Deep Song; written in 1921 but not published until 1931) Suites (written between 1920 and 1923, published posthumously in 1983) Canciones (Songs written between 1921 and 1924, published in 1927) Romancero gitano (Gypsy Ballads 1928) Odes (written 1928) Poeta en Nueva York (written 1930 - published posthumously in 1940, first translation into English as The Poet in New York 1940)[54] Llanto por Ignacio Sánchez Mejías (Lament for Ignacio Sánchez Mejías 1935) www.PoemHunter.com - The World's Poetry Archive Seis poemas gallegos (Six Galician poems 1935) Sonetos del amor oscuro (Sonnets of Dark Love 1936, not published until 1983) Lament for the Death of a Bullfighter and Other Poems (1937) Primeras canciones (First Songs 1936) The Tamarit Divan (poems written 1931-4 and not published until after his death in a special edition of Revista Hispanica Moderna in 1940). Selected Poems (1941) Select translations Poem of the Deep Song - Poema del Canto Jondo, translated by Carlos Bauer (includes original Spanish verses). City Lights Books, 1987 Poem of the Deep Song, translated by Ralph Angel. Sarabande Books, 2006 Gypsy Ballads: A Version of the Romancero Gitano of Frederico García Lorca Translated by Michael Hartnett. Goldsmith Press 1973 Plays Christ: A Religious Tragedy (unfinished 1917) El maleficio de la mariposa (The Butterfly's Evil Spell: written 1919–20, first production 1920) Los títeres de Cachiporra (The Billy-Club Puppets: written 1922-5, first production 1937) Retablillo de Don Cristóbal (The Puppet Play of Don Cristóbal: written 1923, first production 1935) Mariana Pineda (written 1923–25, first production 1927) La zapatera prodigiosa (The Shoemaker's Prodigious Wife: written 1926–30, first production 1930, revised 1933) Amor de Don Perlimplín con Belisa en su jardín (Love of Don Perlimplín and Belisa in his Garden: written 1928, first production 1933) El público (The Public: written 1929–30, first production 1972) Así que pasen cinco años (When Five Years Pass: written 1931, first production 1945) Bodas de sangre (Blood Wedding: written 1932, first production 1933) Yerma (written 1934, first production 1934) Doña Rosita la soltera (Doña Rosita the Spinster: written 1935, first production 1935) Comedia sin título (Play Without a Title: written 1936, first production 1986) La casa de Bernarda Alba (The House of Bernarda Alba: written 1936, first production 1945) Los sueños de mi prima Aurelia (Dreams of my Cousin Aurelia: unfinished 1938) Short plays El paseo de Buster Keaton (Buster Keaton goes for a stroll 1928) La doncella, el marinero y el estudiante (The Maiden, the Sailor and the Student 1928) Quimera (Dream 1928) Filmscripts Viaje a la luna (Trip to the Moon 1929) Operas Lola, la Comedianta (Lola, the Actress, unfinished collaboration with Manuel de Falla 1923) Drawings and paintings Salvador Dalí, 1925. 160x140mm. Ink and colored pencil on paper. Private collection, Barcelona, Spain Bust of a Dead Man, 1932. Ink and colored pencil on paper. Dimension and location unknown. www.PoemHunter.com - The World's Poetry Archive
wer54w66sf32re2
- - - -
Θάνος Μικρούτσικος - Γιάννης Κούτρας - Federico Garcia Lorca - Official Audio Release
Federico García Lorca: Biografía y Datos Curiosos | Descubre el Mundo de la Literatura
Federico Garcia Lorca | Literature | Showcase
Νίκος Καββαδίας - Federico Garcia Lorca
Federico García Lorca | Biografía en cuento para niños | Shackleton Kids
Βασίλης Παπακωνσταντίνου - Federico Garcia Lorca | Vasilis Papakonstantinou - Federico Garcia Lorca
La VERDAD sobre GARCÍA LORCA: Ideología, Muerte y Paradero de sus Restos [Armesilla y Melchor]
Βασίλης Παπακωνσταντίνου - Federico Garcia Lorca | Vasilis Papakonstantinou - Federico Garcia Lorca
Concierto Lírico. Mezzosoprano:Laura WEIHMÜLLER Piano:EDUARDO PÁEZ/ Loi Suites Chapelco Hotel.
Federico García Lorca - Short Biography of Spanish poet, playwright, and theatre director
Federico García Lorca - Dime qué lees y te diré quién eres
💗· Federico García Lorca - Sus 10 mejores poemas - Poesía recitada en español - Spanish poems
Lola Flores - Requiem por Federico García Lorca
¿Por qué asesinaron a Federico García Lorca? | MÁS LITERATURA
FEDERICO GARCÍA LORCA | Draw My Life
Federico Garcia Lorca (Bolero) Θάνος Μικρούτσικος Μ. Πασχαλίδης Στην Υγειά μας ρε Παιδιά 2020 12 12
Un autor en una hora 9 | Federico García Lorca
Federico García Lorca
Υπόγεια Ρεύματα - Federico Garcia Lorca | Ypogeia Revmata - Federico Garcia Lorca
Lorca, muerte de un poeta: Capítulo 1 - Impresiones y paisajes (1903-1918) | RTVE Archivo
The Spirit of Lorca
El Romancero Gitano - Romance de la Luna, Luna - Federico García Lorca
Federico Garcia Lorca and Duende
Federico García Lorca: Canciones populares españolas (1931). Selección
Federico García Lorca - Romancero gitano -libro completo-
Philip Levine reads Federico Garcia Lorca | LIVE from the NYPL
Documental Federico Garcia Lorca
Conheça o poeta dramaturgo Federico Garcia Lorca !
FEDERICO GARCÍA LORCA "Lluvia". Recitado por Joan Mora.
Leonard Cohen Take this waltz Federico Garcia Lorca
Γιάννης Κούτρας - Federico Garcia Lorca
Federico Garcia Lorca 5 Poems from Poet in New York
RESUMEN: BODAS DE SANGRE - FEDERICO GARCÍA LORCA (POR ACTOS)
Poeta García Lorca e a Guerra Civil Espanhola.
Verde que te quiero verde - Romance Sonámbulo - Federico García Lorca - Ricardo Fernández del Moral
Homenaje A Federico (Bulerías)
Lorca, muerte de un poeta: Capítulo 6 - La muerte (1936) | RTVE Archivo
Muerte de Federico García Lorca. Luis Rosales habla en La Clave.
Documental "Federico García Lorca: Asesinato en Granada" (Murder in Granada)
Paco Ibañez - Canción del Jinete - Federico García Lorca
Zorongo Flamenco - Garcia Lorca
Federico García Lorca - La guitarra
Jean Ferrat - Federico Garcia Lorca
LA CASA DE BERNARDA ALBA (Resumen) | Draw My Life
Federico García LORCA – Poète à Grenade (DOCUMENTAIRE, 2016)
Zorongo Gitano LORCA | Paola Hermosín
At Five in the Afternoon - Federico García Lorca (read by Gilberto Graywolf)
Federico García Lorca - Animation (English Subtitles)
Wykład 55: Federico García Lorca
Marilena Orfanou - Federico Gracia Lorca

See also

Who likes

Followers