“with a sense of rupture”:
Mora Guarnido, 121.
“I publish only”:
Auclair, 84.
“almost by force”:
Mora Guarnido, 121.
Gabriel García Maroto:
Mora Guarnido, 121–122; Hernández, introduction to FGL,
Libro de poemas
, 33; Gabriel García Maroto,
La nueva España
1930.
Resumen de la vida artística española desde el año 1927 basta hoy
(Madrid: Biblos, [1931]), 21 and frontispiece.
“ugly edition”:
EC
, 115–16. He added that in the fall of 1921 he intended to bring out a second book with Martínez Sierra—a collection of newer poems.
FGL selects poems for inclusion in poetry collection:
FM
, 190; Martín,
Federico García Lorca, heterodoxo
, 98–100; Hernández, “Francisco y Federico García Lorca,” ii-iii.
“you’re confronting”:
EC, 115.
“a pure poet… hackneyed ideas”:
EC
, 105.
“As far as the public”:
Vicenta Lorca to FGL (spring 1921), AFFGL.
“to help you”:
Hernández, “Francisco y Federico García Lorca,” xii; trans.
GM
, xvi.
FGL helps plan Tagore visit:
FGL correspondence to parents (spring 1921), EC, 103–14. See also “Rabindranath Tagore, en Madrid,”
El Sol
(Madrid), April 6, 1921, 1; “Teatros. Escuela Nueva. El rey y la reina,”
El Sol
(Madrid), April 11, 1921, 3; “Viaje suspendido Rabindranath Tagore,”
El Sol
(Madrid), April 27, 1921.
“Federico, don’t waste time”:
Vicenta Lorca to FGL ([1921]), AFFGL.
“if he’s happy”:
Vicenta Lorca to FGL (May 2, 1921), AFFGL.
“I’m turning blacker”:
EC, 113.
FGL shares room with Pepín Bello:
Sánchez Vidal, 52.
“dissection and putrefaction”:
María Asunción Mateo, “Entrevista. José Bello. ‘Las relaciones de Lorca y Dalí han sido falseadas,’”
Blanco y Negro
(Madrid), May 26,1991, 74–79.
“a mischievous genius”:
Martínez Nadal,
Cuatro lecciones
, 22.
Pepín Bello:
Buñuel,
Mi último suspiro
, 63–64, 71; Aub,
Conversaciones
, 287; Sánchez Vidal, 35;
G, I
, 358–59; Rafael Santos Torroella, “Pepín Bello, o la amistad.”
“a special aura”:
José Bello to FGL (December 2, 1926), AFFGL. In this letter Bello also expressed his thoughts on the temperamental traits he and FGL shared.
“cherry”:
José Bello to FGL (August 27, 1924), AFFGL:
G, I
, 360.
FGL reads Lope de Vega plays:
Sánchez Vidal, 56. Bello later claimed to know more than 100 plays by Lope, without having read a single text himself. He knew them solely through FGL’s readings, he said.
“labor pains”:
Consuelo Lluva, “José Bello. El cuarto amigo,”
Heraldo de Aragón
(Zaragoza), January 5, 1990, 7.
“the most perfect thing” and “I’m very happy”:
EC
, 114, 117.
Book of Poems published:
Hernández, introduction to FGL,
Libro de poemas
, 39.
Bello signs copies of
Book of Poems:
Sánchez Vidal, 52.
Relationship between FGL and brother:
Hernández, “Francisco y Federico García Lorca,” i; GM, viii; Manuel Fernández-Montesinos, “Federico García Lorca en su entorno humano,”
Problemas de edición de la obra de Federico García Lorca
(Universidad de Granada, 1984).
Paco García Lorca advises FGL to include early work in book:
This was not the first time Paco helped to organize his brother’s writing. Working together, the two Lorca brothers first attempted to select and organize Federico’s juvenilia in March 1918. On his own, Paco continued this work until November 1918, when he reached a round number of 100 poems. After December 1918, neither brother attempted to select or organize the poems. Paco’s initial selection of 100 poems was never printed as a book (
Catálogo general de los fondos documentales de la Fundación Federico García Lorca. Vol. II. Manuscritos de la obra poética juvenil
(1917–19), ed. Christian de Paepe, Madrid: Ministerio de Cultura, Fundación Banesto, Fundación Federico García Lorca, 1993).
“I offer in this book”:
OC
, I, 59. José Mora Guarnido would later suggest that the book’s publisher, Gabriel García Maroto, wrote the prologue to
Book of Poems
rather than FGL himself. Mora Guarnido believed FGL might have given the task to Maroto, much as he allowed Gregorio Martínez Sierra to take responsibility for the title of
The Butterfly’s Evil Spell
. Some critics agree with Mora’s theory; others do not. The tone of the prologue to
Book of Poems
is reminiscent of the tone of FGL’s prologue to
Impressions and Landscapes
, and it therefore seems probable the poet had some hand in its composition (Mora Guarnido, 122, 179; see also Hernández, introduction to FGL,
Libro de poemas
, 33–34).
Presence of
vega
in
Book of Poems:
FM
, 58; José Mora Guarnido, “El primer libro de Federico García Lorca,”
El Noticiero Granadino
, July 3, 1921, 1; Morris,
Son of Andalusia
,
146–76
.
FGL’s gift for images:
Maurer, introduction to FGL,
Collected Poems
, liii; José Hierro, “El primer Lorca,”
Cuadernos Hispanoamericanos
224–25 (August-September 1968), 437–62; Hernández, introduction to FGL,
Libro de poemas
.
Influence of Darío and Jiménez on
Book of Poems:
FM
, 194; Río, “El poeta Federico García Lorca,” 178; Umbral, 43; Miguel García-Posada, introduction to FGL,
Poesía I
, 2nd. ed. (Madrid: Akal, 1982), 127; Morris,
Son of Andalusia
, 167–68. There are hints, too, of the early Spanish poet Salvador Rueda in this collection (see Carlos Edmundo de Ory, “Salvador Rueda y García Lorca,”
Cuadernos Hispanoamericanos
255 [March 1971], 417–44).
Machado’s influence on
Book of Poems: FM
, 194; José Manuel González Herrán, “Resonancias de Machado en el Libro de poemas de García Lorca,”
Pena Labra
24–25 (summer 1977), n.p.; Donald L. Shaw,
The Generation of
1898 in Spain (London and Tonbridge: Ernest Benn, 1975), 133–36; Morris,
A Generation
, 6–7.
FGL’s use of popular song in
Book of Poems:
Hernández, introduction to FGL,
Libro de poemas
, 26; Devoto, “Notas sobre el elemento tradicional”; FGL,
Autógrafos III
, 24of. See also Ian Gibson’s fine study of Lorca’s “Sad Ballad” (“Lorca’s Balada triste: Children’s Songs and the Theme of Sexual D
isharmony in
Libro de poemas,” Bulletin of Hispanic Studies
XLVI [Liverpool, 1969], 21–38).
“I’m very happy” and “truly … herd of panthers”:
EC
, 119.
Maroto neglects to promote
Book of Poems:
Adolfo Salazar to FGL (August 13, 1921), AFFGL. According to a letter from an employee at Maroto’s press, FGL failed to tell anyone where to send the books, and copies of
Book of Poems
were accordingly not shipped to the Ganivet Bookstore in Granada until July 15, one month after the book’s publication. Copies were not sent to Madrid bookstores until July 21 (
EC
, 122n, and Maurer, “De la correspondencia,” 61). For FGL’s requests for help from friends see, for example, EC, 119.
“a singer of stars”:
José Mora Guarnido, “El primer libro de Federico García Lorca,”
El Noticiero Granadino
, July 3, 1921, 1.
Adolfo Salazar:
Salazar’s first article on literature was a review of a book on Spain by the British musicologist John B. Trend. It appeared on July 15, 1921, just two weeks before his review of
Book of Poems
(Adolfo Salazar, “Los amigos de España. Como ve nuestro pais un escritor inglés,”
El Sol
[Madrid], July 15,1921, 3; Adolfo Salazar to FGL [November 9, 1921], AFFGL; Adolfo Salazar to FGL [August 13, 1921], AFFGL; Adolfo Salazar to FGL [July 31, 1921], AFFGL).
“A New Poet”:
This and all subsequent passages from this review are taken from Adolfo Salazar, “Un poeta nuevo. Federico García Lorca,”
El Sol
(Madrid), July 30, 1921, 3.
Salazar writes to Federico García Lorca:
Adolfo Salazar to FGL (July 31, 1921), AFFGL; see also
EC
, 121n.
“The only way to repay … find myself in my book” and “If you could see”:
EC, 121–122, trans. FGL,
Selected Letters
, 17–18.
“are oblivious … your spirit”:
Adolfo Salazar to FGL (August 13, 1921), AFFGL.
Book of Poems
receives three additional reviews:
Hernández, introduction to FGL,
Libro de poemas
, 27, 40. See also Cipriano Rivas Cherif, “Federico García Lorca,”
La Pluma
II, 15 (Madrid, August 1921), 126–127; and Guillermo de Torre, “Libro de
poemas por Federico García Lorca,”
Cosmópolis
35 (Madrid, November 1921), 528.
“less reminiscent”:
Trend,
Lorca and the Spanish Poetic Tradition
, 2–3. The original review appeared on January 14, 1922, in
Nation and Atheaeum
.
“languished in silence”:
EC
, 756.
“a failure”:
EC
, 121–22, trans. FGL,
Selected Letters
, 17–18.
“our local poet”:
Salvador de Madariaga, “Tres estampas de Federico García Lorca,” in
De Galdós a Lorca
(Buenos Aires: Sudamericana, 1960), 219.
FGL experiments with haiku:
Hernández, “Francisco y Federico García Lorca,” xiii. In a note to his family in 1921 he explained that haiku was the “utmost Japanese song, which the new French poets have brought to Europe and which, because of my particular love for everything that’s new, I am attempting as a mere pastime” (FGL, “Hai-Kais de felicitación a Mamá,” [1921], AFFGL).
“render in words”:
EC
, 124; trans. FGL,
Selected Letters
, 18.
“Especially at nightfall”:
EC
, 123.
“The night sky”:
FGL, “Fin,” in OC, I, 217, trans. FGL,
Collected Poems
, 245. All subsequent translations from
Suites
are taken from FGL,
Collected Poems
.
FGL composes some
75 poems: André Belamich, introduction to FGL,
Suites
, 9–14; EC, 136; Hernández, introduction to FGL,
Primeras canciones
, 24.
FGL publishes suites in
Indice:
Comincioli
, 61–62;
Indice
2–3 (1921).
FGL receives letter soliciting financial help:
Juan Guerrero to FGL (December 26, 1922), AFFGL.
FGL studies guitar:
EC
, 123.
“hammering
away,” “old people … with laughter,” and “I’m very much loved”:
EC
, 124–125; see also Morris,
Son of Andalusia
, 34.
“I see life is now casting”:
EC, 125; trans, by David Gershator in FGL,
Selected Letters
, 19.
“I’m coming back”:
FGL,
Collected Poems
, 249.
7. Falla: 1921–23
FGL resumes law studies:
University of Granada Archive, School of Law records, 138–13. See also FM, 98. To an economics professor who took pity on him and rallied others to his cause, FGL later dedicated a poem (G, J, 302; OC, I, 414.)
“neither sad nor happy”:
EC
, 131.
“You’re not doing anything”:
Melchor Fernández Almagro to FGL (October 13, 1921), AFFGL.
“I don’t like to think of you”:
Adolfo Salazar to FGL (November 9, 1921), AFFGL.
“architects and junk dealers … color or ambiance”:
Letter from FGL and others to Centro Artístico de Granada, Centro Artístico Archive.
“granadinos
of pure stock”:
EC
, 149. Granadans had recently begun to shed their age-old bias against the Moors who once occupied the city. In the 1920s, the University of Granada began to offer courses in Arabic languages, and a Center for Arabic Studies opened (see Emilio García Gómez,
La Silla del Moro y nuevas escenas andaluzas
[Madrid: Austral Espasa Calpe, n.d.], 77).
Gypsy song:
For examples of
cante jondo
see Brenan,
The Literature
, 330–34, and OC, III, 40–50.
Falla urges FGL and friends to stage festival:
In fact, it was Miguel Cerón, a friend of Falla’s in Granada, who apparently first suggested the idea of a
cante jondo
competition to the composer. On the origins and organization of the festival see Hernández, introduction to FGL,
Poema del cante jondo
, 22–23; Rodrigo,
Memoria
, 214; Eduardo Molinda Fajardo,
Manuel de Falla y el “cante jondo”
(Granada: Universidad de Granada, 1962), 49; and Granada press reports (January-June 1922).
Manuel de Falla:
FM, 148; Manuel Orozco,
Falla. Biografía ilustrada
(Barcelona: Destino, 1968); Adams, 78–79; Rodrigo,
Memoria
, 184; María Martínez Sierra,
Gregorio y yo. Medio siglo de colaboración
(México: Biografías Gandesa, 1953), 120–21. For Falla’s thoughts on the term “Maestro,” see EC, 210n.
“when you’re dead” and “a saint”:
Suero, “Crónica.”
“my dear son”:
Brickell, 389.
“the most beautiful panoram
a”:
Sopeña, 65.
“silence, above all silence”:
Rodrigo,
Memoria
, 198, citing an interview in
La Voz
(Madrid), July 12, 1920. On Falla’s mania for silence see also
FM
, 149–52.
“new ideas and new projects”:
Casa Museo Manuel de Falla, 66
, citing article by Adolfo Salazar in
El Sol
(Madrid), October 25, 1921.
“frugal”:
FM
, 157. See also Mora Guarnido, 156–58; Emilio García Gómez,
La Silla del Moro y nuevas escenas andaluzas
(Madrid: Austral Espasa Calpe, n.d.), 84–85; Auclair, 110.
“to become better each day”:
Suero, “Crónica.”
“truth without authenticity”:
Maurer, introduction to FGL,
Collected Poems
, xlv.
coplas:
Brenan,
The Literature
, 330; FGL,
Deep Song
, 31.
“naked emotion” “all the passions” and “consult the air”:
C, I, 51–71, translated in FGL,
Deep Song
, 24–33; see also
OC
, III, 33-52.
FGL helps circulate petition:
EC
, 136.
FGL serenades Falla:
EC
, 137–138; Juan Viniegra, “Charla con Miguel Cerón,” in Juan de Loxa, ed.,
Federico del Sagrado Corazón de Jesús-Manuel María de Dolores Falla
Matheu
(Fuentevaqueros, Granada: Comisión Organizadora del Hermanamiento Falla-Lorca, 1982), 25.
“Manuelito”:
EC
, 136.
FGL relates story of festival organization:
OC
, III, 33–34.
“than a musician”:
C, I, 55–56.
FGL and Manolo Angeles Ortiz seek singers:
Rodrigo,
Memoria
, 218–19; Auclair, 116–18. On the death of Angeles Ortiz’s wife, Paquita, see Rodrigo,
Memoria
, 206–16, 275.
“bloodcurdling”:
Auclair, 116.
FGL’s knowledge of popular song:
Ontañón, “Semblanza”; Marcelle Schveitzer, “Souvenir sur Federico García Lorca,” in Louis Parrot,
Federico García Lorca
, with Marcelle Schveitzer and Armand Guibert (Paris: Seghers, 1947), 193; Federico de Onís, “García Lorca, folklorista,”
Revista Hispánica Moderna
VI, 3–4 (1940); Auclair, 170. See also FGL’s lectures on lullabies and
cante jondo
in OC, III.
“book of hours”:
Rodolfo Halffter, “Manuel de Falla y los compositores del Grupo de Madrid de la Generación del 27,” in
La Música en la Generación del
Lorca Page 69