Lorca
Page 76
The New York Times
, February 18, 1930, 18).
FGL and American movies:
FGL, “The Poet Writes,” 258–59. FGL’s piece on Chaplin appears in OC, I, 748–51, trans. FGL,
Collected Poems
, 784–86 (see also discussion of the work in FGL,
Collected Poems
, pages 858–59).
FGL drafts filmscript:
OC, II, 266–78. See also Richard Diers, “A Filmscript by Lorca,”
Windmill Magazine
(spring 1963); Marie Laffranque, introduction to FGL,
Viaje a la luna
(Guión cinematográfico), ed. Marie Laffranque (Loubressac: Broad Editions, 1980); FGL,
Viaje a la luna
(Guión cinematográfico), ed. Antonio Monegal (Valencia: Pre-Textos, 1994).
“I need to be in touch”:
Auclair, 84.
FGL’s New York drawings:
Crow, 7, 43n; Mario Hernández, “Ronda de los autorretratos con animal fabuloso y análisis de los dibujos neoyorquinos,” in FGL,
Dibujos
, 99; FGL,
Dibujos
, 170–76.
“What do you mean”:
Mathilde Pomès, “Une visite a Federico García Lorca,”
Le Journal des Poètes
5 (May 1950), 2.
FGL spends autumn in New York:
FGL, “The Poet Writes,” 250–57.
“pure hero” and “valiant, poetic”:
FGL, “Presentación de Ignacio Sánchez Mejías,” in OC, III, 199.
“He has taken me”:
FGL, “The Poet Writes,” 275.
FGL witnesses Wall Street Crash:
Adams, 121; FGL, “The Poet Writes,” 260–62; FGL, “Lecture: A Poet in New York,” 192–93; Suero; Daniel Eisenberg,
“Poeta en Nueva York”: Historia y problemas de un texto de Lorca
(Barcelona: Ariel, 1976), 213.
FGL reads poems to friends:
FGL, “The Poet Writes,” 274; Brickell, 392; Río, Poeta en Nueva York, 251, 264.
Poet in New York:
Quotations from this collection are taken from FGL,
Poet in New York;
see also OC, I, 509–81. For commentary see Crow, 43–45; Christopher Maurer, introduction to FGL,
Poet in New York;
García-Posada, introduction to FGL,
Poesía
II, 2nd ed. (Madrid: Akal, 1982), 66; García-Posada, introduction to FGL,
Poesía
I, 2nd ed. (Madrid: Akal, 1982), 63, 91; Laffranque,
Les Idées Esthétiques
, 214–28; Río, “El poeta Federico García Lorca,” 183; Morris,
A Generation
, 217; FM, 169.
“What I will give,” “escape,” “event,” and “respond to”:
FGL, “Lecture: A Poet in New York,” 186–88. The lecture also appears in OC, III, 163–73. See also Miguel Pérez Ferrero, “Voces de desambarque,”
Heraldo de Madrid
, October 9, 1930 in OC, III, 370.
“Cry Towards Rome”:
FGL’s “Cry Towards Rome” was most likely inspired either by the pope’s 1929 signing of the Lateran accords with Mussolini or by his refusal in the summer of 1929 to intervene on behalf of the Cristeros rebels in Mexico, a decision that led to the savage murder of the group’s leader, Father Pedroza. See Eisenberg, “A Chronology,” 250; Juan Cano Ballesta, “Historia y poesía: interpretaciones y sentido de ‘Grito hacia Roma,’”
Revista Hispánica Moderna
XXXIX (New York, 1976–1977), 210–14; García-Posada, introduction to FGL,
Poesía
I, 2nd ed. (Madrid: Akal, 1982), 57.
FGL recalls brother Luis:
FGL,
Poeta en Nueva York. Tierra y luna
, 152n.
“Adam”:
FGL,
Collected Poems
, 731, in OC, I, 186.
“He amuses me”:
Rivas Cherif, January 13, 1957.
“Since Paco and I”:
FGL, “The Poet Writes,” 257.
FGL celebrates Christmas:
FGL, “The Poet
Writes,” 268–74; Adams, 124–25; Brickell, 391.
FGL delivers lectures:
According to Amelia Agostini del Río, FGL sent his $100 lecture fee to his father, “to show him that poetry, too, makes money” (author interview with Amelia Agostini del Río). See also FGL, “The Poet Writes,” 277–79; EC, 676–84; Eisenberg,
Textos y documentos
, 23–26; Andrew A. Anderson, “García Lorca at Vassar College: Two Unpublished Letters,”
García Lorca Review
XI, 1 and 2 (spring 1983), 100–9.
FGL travels to Cuba:
Eisenberg, “A Chronology,” 24;
G, II
, 81, citing “Barcos llegados ayer” and “Los que llegaron en el Cuba,”
Diario de la Marina
(Havana), March 8, 1930; FGL, “The Poet Writes,” 279–84; FGL, “Lecture: A Poet in New York,” 199–201. FGL to parents (March 8, 1930), AFFGL. FGL later told a group of young Spanish writers that leaving New York was like “escaping from the atrocious nightmare of a tortured night into the joy of a sunny day” (Luciano del Río, “García Lorca en Pontevedra,”
Diario de Pontevedra
, August 12, 1973, 16).
“new layers”:
Río,
Poeta en Nueva York
, 257.
“to Russia”:
FGL, “The Poet Writes,” 268.
15. Spanish America: 1930
FGL arrives in Cuba:
Suero; EC, 681–84;
Diario de la Marina
(Havana), March 8, 1930.
“exaggerated”:
EC, 681.
“I’ve spent the happiest”:
Marinello, 15.
FGL gives lectures:
Nicolás Guillén, “Recuerdos de García Lorca,”
Triunfo
., June 12, 1976, 17; [Quevedo], 21–22; OC, III, 109–10;
Diario de la Marina
(Havana), March 10, 11, 12, 17, 19, and 30, 1930; April 7 and 9, 1930; June 6, 1930.
“lightness and ease”:
Cardoza y Aragón, 347.
“doesn’t lend” and “He is bursting of Adam”:
Revista de Avance
46 (Havana), May 15, 1930, 159.
“This is called”:
Nicolás Guillén, “Recuerdos de García Lorca,”
Triunfo
, June 12, 1976, 17.
FGL reads New York poems:
Arciniegas; Luis Cardoza y Aragón, “Federico en Nueva York,”
Romance
I, 13 (Mexico, 1940).
Salazar encounters FGL:
Salazar, “Federico en La Habana,” 30.
“scene from an Athenian”:
[Quevedo], 17.
“Local, I take it?”:
Jesús Sabourín, “Federico García Lorca en Santiago de Cuba,”
Santiago de Cuba. Universidad de Oriente. Revista
I, 2 (March 1962), 2.
“If you write to me”:
[Quevedo], 37.
“I’ve forgotten”:
[Quevedo], 36.
“three or four hours” and “I am going to give”:
FGL, “The Poet Writes,” 285–86.
FGL disappears:
FGL, “The Poet Writes,” 286; [Quevedo], 18; Guillermo Cabrera Infante, “Brief Encounters in Havana,”
World Literature Today
61, 4 (Norman, Oklahoma, autumn 1987), 519–25.
“without tragedy”:
FGL, “Lecture: A Poet in New York,” 201. On FGL’s interest in Cuban blacks see also
G, II
, 102; and Isabel Cuchí Coll,
Del Madrid literario Madrid
1933–1934 (San Juan: Venezuela, 1935), 80.
“drop of Negro blood … better”:
FGL, “The Poet Writes,” 285.
“Oh, Cuba”:
EC, 691.
“gone native”:
Social
(Havana), May 1930, 6.
FGL embraces Cuban culture:
[Quevedo], 17, 25, 30–35; FGL, “The Poet Writes,” 284–85; Auclair, 399; Marinello, 20; Emilio Ballagas, “Recuerdo de García Lorca,”
Carteles
(Havana), July 24, 1938, 55.
FGL participates in strike:
Emilio Ballagas, “Recuerdo de García Lorca,”
Carteles
(Havana), July 24, 1938, 55. On FGL’s sympathy with the Cuban opposition see [Emilio Roig de Leuchsening], “Habladurías por ‘El Curioso Parlanchín.’ Federico García Lorca, poeta ipotrocasmo,”
Carteles
(Havana), April 27, 1930, 30, 46–47.
“What will become”:
EC, 668.
“What’s happening over there”:
EC, 688.
FGL and Cuban music:
Heraldo de Madrid
, October 9, 1930; Mathilde Pomès, “Une visite a Federico García Lorca,”
Le Journal des Poetes
5 (May 1950), 1;
FM
, 68; Adolfo Salazar, “El mito de Caimito,”
Carteles
(Havana), February 20, 1938; and Nicolás Guillén, “Recuerdos de García Lorca,”
Triunfo
, June 12, 1976, 17.
FGL writes “Son”:
Pérez Coterillo, 41; Auclair, 397; Marinello, 17–18, 20. It was in Santiago harbor that the Spanish fleet succumbed to the United States Navy in 1898, the year of FGL’s birth. As a result of the defeat, Spain lost Cuba, a fact that may account for the elegiac tone of FGL’s poem.
FGL with Quevedos:
[Quevedo];
G, II
, 93, 98; Ciro Bianchi Ross, “Aniversario. Federico en Cuba,”
Cuba International
XII, 130 (Havana, September 1980), 26; E. Dobos, “Nuevos datos sobre el viaje de Federico García Lorca por Cuba en el año 1930,”
Acta Litter aria. Academiae Scientiarum Hungaricae
XXII (Budapest, 1980), 397–98.
“invitation and surrender”:
Joseph Hergesheimer,
San Cristóbal de la Habana
(New York: Alfred A. Knopf, 1927), 197.
FGL with Cardoza y Aragón:
Cardoza y Aragón, 328, 350–58.
FGL rumored to have love affairs:
G,
II
, 92, 105–6; [Quevedo]; Guillermo Cabrera Infante, “Lorca hace llover en La Habana,”
Cuadernos Hispanoamericanos
433–36 (July-August 1986), 247–48; AFFGL (photograph archive).
FGL begins
The Audience:
The title of FGL’s
El público
is typically translated as “The Public”; because the Spanish “público,” however, means both “public” and “audience,” and because the notion of “audience” is at the heart of FGL’s play, I have elected to translate the title as
The Audience
. For details on the manuscript of
The Audience
see Martínez Nadal,
The Public
, 21–23; Martínez Nadal, introduction to FGL,
El público y Comedia sin título
, 26; and FGL,
Autógrafos
II.
“some sort of obese”:
Cardoza y Aragón, 352–53.
FGL with Loynaz family:
Pérez Coterillo, 40–42;
G, II
, 99–101; E. Dobos, “Nuevos datos sobre el viaje de Federico García Lorca por Cuba en el año 1930,”
Acta Litteraria
.
Academiae Scientiarum Hungaricae
XXII (Budapest, 1980), 398–99; Ciro Bianchi Ross, “Aniversario. Federico en Cuba,”
Cuba Internacional
XII, 130 (Havana, September 1980), 29–30; Dulce María Loynaz, “Comentarios” (unpublished ms., May 2, 1988), AFFGL.
FGL has surgery:
Auclair, 399; Eisenberg, “A Chronology,” 248; Fernández-Montesinos García, “Descripción,” 27; Dulce María Loynaz, “Comentarios” (unpublished ms., May 2, 1988), AFFGL; Salazar, “Federico en La Habana,” 30; Emilio Ballagas, “Recuerdo de García Lorca,”
Carteles
(Havana), July 24, 1938, 55; Luis Cardoza y Aragón, “Federico García Lorca,”
El Nacional
(Mexico), September 30, 1936.
FGL departs Cuba:
G, II
, 121–22; [Quevedo], 39; Pérez Coterillo, 42; Ciro Bianchi Ross, “Aniversario. Federico en Cuba,”
Cuba Internacional
XII, 130 (Havana, September 1980), 30; Marinello;
Diario de la Marina
(Havana), June 11 and 12, 1930. FGL’s ticket for the
Manuel Arnus
is stamped “departure” on June 12, 1930 (AFFGL).
Manuel Arnus
stops in New York:
Eisenberg, “A Chronology,” 249;
The New York Times
, June 18 and 19, 1930;
EC
, 689; Salazar, “La casa,” 30; Brickell, 394–95; Adams, 137.
16. Audience: 1930–31
FGL writes to Martínez Nadal:
EC
, 689–90. On FGL’s plans to revisit America see
EC
, 669, 693; and FGL interview with Miguel Pérez Ferrero,
Heraldo de Madrid
, October 9, 1930, in OC, III, 368–73.
Priest encounters FGL:
Vásquez Ocaña, 269–70.
“You could stay … charm”:
EC
, 692–93.
“terrible washing machines”:
EC
, 671.
FGL’s typical behavior at Huerta:
Rodrigo, “La Huerta,” 824–28; José Manuel Fajardo, “Granada: La sombra de García Lorca es alargada,”
Cambio
16, April 7, 1986, 123.
“keep up his spirits”:
“The Poet Writes,” 223.
FGL’s affection for mother:
Cano, 87–88; Peñón, 90.
Lorca family follows political developments:
G, II
, 124–25.
“It consists Marvelous”:
FGL interview with Miguel Pérez Ferrero,
Heraldo de Madrid
, October 9, 1930, cited in Martin, “Lorca y Nueva York.”
“greater decisiveness … rite had ended”:
Cernuda, “Federico García Lorca (recuerdo),” 15.
“to recognize his nature.. cynical”:
Author interview with José Antonio Rubio Sacristán.
“I’ve done the most difficult”:
Joaquín de Entrambasaguas, “Nota preliminar,” in FGL,
Poeta en Nueva York
(selección),
Anthology of Contemporary Literature
I (Madrid: Suplemento primero de “Cuadernos de Literatura Contemporánea” del CSIC, 1945), 4.
“I have to defend”:
Martínez Nadal, “Guía al lector,” in FGL,
El público y Comedia sin título
, 260–61. Martínez Nadal also describes FGL’s recitals of his New York poems.
FGL reads
The Audience
to Morla Lynch and friends and “They haven’t understood”:
Martin, “Lorca y Nueva York,” 48; Auclair, 199; Martínez Nadal,
Lorca’s The Public
.
Manuscript of
The Audience:
Most editions of
El público
remark on the uncertain state
of the manuscript. On the placement of “Song of the Idiot Shepherd,” see José Rubio Barcia, “Ropaje y desnudez de El público,”
Cuadernos Hispanoamericanos
433–34 (July-August 1986), 385–97.
The Audience:
Passages from this play are taken from OC, II, 279–327.
FGL writes brief sketch in adolescence:
Margarita Ucelay, “La problemática teatral: Testimonios directos de Federico García Lorca,”
BFFGL
6 (December 1989), 35.
“would be sensational”:
EC
, 706. On Rivas Cherif’s plans to produce
The Audience
see “Noticias teatrales,” Luz (Madrid), May 6, 1932, 2; Sección de rumores,”
Heraldo de Madrid
, May 4, 1932, 6; and Juan G. Olmedilla, “Al margen de la escena consuetudinaria,”
Heraldo de Madrid
, November 21, 1933, 13.
“I don’t think any company”:
“Llegó anoche Federico García Lorca,”
La Nación
(Buenos Aires), October 14, 1933.
“a poem to be hissed”:
Pinto. On FGL’s publication of scenes from
The Audience
see Martínez Nadal,
Lorca’s The Public
, 19.
FGL reportedly gives nude reading:
José María Alfaro, “Hombres, aconteceres y nostalgias. Federico y
El público,” ABC
(Madrid), June 18, 1978, Sunday Cultural section, 28.
Xirgu decides to premiere
Shoemaker’s Wife:
Rodrigo, Margarita Xirgu, 168; FGL to parents (January[?] 1929), cited in Antonio Monegal, “Federico García Lorca-Luis Buñuel: Cartas inéditas,”
Plaza, Revista de Literatura
11 (Cambridge, Mass., autumn 1986), 60.
Rehearsals for
Shoemaker’s Wife:
Rodrigo,
Margarita Xirgu, 168;
FM
, 301–5; “Sección de rumores,”
Heraldo de Madrid
, December 4 and 5, 1930, 7; Hernández, introduction to FGL,
La zapatera
, 29–36.
“As you can see”:
EC
, 702. In his letter, FGL mentions that he was considering having an aviator friend fly him home for the holidays.
FGL encounters Aladrén: