Lorca
Page 73
(London: The Herbert Press, 1986), 31–37; FGL,
Dibujos
, 147–53.
FGL’s drawings,
c
. 1927: Rodrigo,
Lorca-Dalí
, 144; FGL,
Dibujos;
Helen Oppenheimer,
Lorca: The Drawings. Their Relation to the Poet’s Life and Work
(London: The Herbert Press, 1986); Isabel García Lorca, “Recuerdos,” in FGL,
Teatro de títeres y dibujos
, 11; Sebastian Gasch, “Lorca dibujante,”
La Gaceta Literaria
(Madrid), 30, March 15, 1928, 4; author interview with José Caballero.
“for the duration”:
Dalí,
Vida secreta
, 217.
“Lorca saw me”:
Robert Descharnes,
Dalí
.
La obra y el hombre
(Barcelona: Tusquets, 1984), 21.
“Cadaquéééés!”:
Rodrigo,
Lorca-Dalí
, 161.
FGL’s friendship with Ana María Dalí:
Rodrigo,
Lorca-Dalí
,
177–78;
Ana María Dalí, 127–28.
FGL’s fear of death:
Ana María Dalí, 126–27.
“grave throat illness”:
EC
, 506.
“babouet”:
Rodrigo,
Lorca-Dalí
, 174–75.
“the same pure emotion … cradle”:
EC
, 544.
“materialistic, irreligious, and objective”:
Sebastian Gasch to FGL (n.d.), AFFGL, in Rodrigo,
García Lorca
, 177.
FGL signs “Anti-Artistic Manifesto”:
EC
, 492; Rodrigo,
García Lorca, amigo
, 195. On the significance of the manifesto, see Jaime Brihuega,
Manifiestos, proclamas, panfletos y textos doctrinales. Las vanguardias artísticas en España
. 1910–1931 (Madrid: Ediciones, 1979), 157–61; Dawn Ades,
Dalí
(London: Thames and Hudson, 1982), 41; and
Los vanguardistas españoles
(1925–1935), ed. Ramón Buckley and John Crispin (Madrid: El Libro de Bolsillo, Alianza, 1973), 38–42.
“Your Saint Sebastian”:
Salvador Dalí escribe a Federico García Lorca
, 48.
“I’m sending you this card”:
Salvador Dalí escribe a Federico García Lorca
, 63.
“one of man’s”:
FGL, “Lecture: A Poet in New York”, 186.
“Saint Objectivity”:
Salvador Dalí escribe a Federico García Lorca
, 42.
Dalí publishes prose poem on Saint Sebastian:
Rodrigo,
Lorca-Dalí
, 94;
EC
, 506.
“is you … We’ll see”:
Salvador Dalí escribe a Federico García Lorca
, 48.
“unwounded
ass”:
Salvador Dalí escribe a Federico García Lorca
, 44.
“Saint Sebastian’s arrows”:
EC
, 511.
FGL’s relationship with Dalí
, c. 1927: Santos Torroella,
La miel
, 84–85; Santos Torroella, “Los putrefactos”, 54; Martínez Nadal,
Federico García Lorca. Mi penúltimo libro
, 50, 91n; Buñuel,
Mi último suspiro
,
66
, 180; Angela Rodicio, “José Bello, testigo de excepción, recuerda sus años en la Residencia de Estudiantes,”
Diario 16
(Madrid), January 9, 1988; “Altoaragoneses en lo alto. José Bello, comentarista y degustador de la Generación del 27. El surrealismo es una teoría del humor,”
Diario del Altoaragón
(Huesca), October 28, 1990, 12. Dalí made repeated boasts about FGL’s sexual advances toward him; see, for example, Ian Gibson, “Con Dalí y Lorca en Figueras,”
El País
(Madrid), Sunday section, January 26, 1986, 10–11. In his
Vida secreta
, Dalí—never a reliable witness—claims he was a virgin until he became involved with Gala Eluard in 1929 (259).
Dalí’s paintings of FGL:
Santos Torroella,
La miel
, 94–97. On Dali’s sexual malaise, see especially Santos Torroella, “Los putrefactos”, 48–54.
“Federico is better than ever,” “extreme narcissismill-fated influence”:
Buñuel,
Obra literaria
, 36.
“black,” “a new kind of poetry,” and “I long more than ever”:
EC
, 495–96.
FGL writes to Dalí from Barcelona:
EC, 498–500.
Dalí’s
Honey Is Sweeter than Blood:
Santos Torroella,
La miel
, 85–88, 96–98; Dawn Ades,
Dalí
(London: Thames and Hudson, 1982), 45.
“historic melancholy”:
EC
, 506.
“I think about you”:
EC, 502.
“not one decent curvaceous thigh” and “grace in the midst of torture”:
EC, 511–12.
FGL’s prose poems, 1927:
OC, I, 487–507;
G, I
, 507–9; Terence McMullan, “Federico García Lorca’s Santa Lucía y San Lázaro and the Aesthetics of Transition,”
Bulletin of Hispanic Studies
LXVII (1990), 1–20; Miguel García-Posada, introduction to FGL,
Poesía
II, 2nd ed. (Madrid: Akal, 1982), 56–60.
“wonderful … putrefaction”:
G, I
, 527.
“Act of FAITH”:
Salvador Dalí escribe a Federico García Lorca
, 85.
“poetically stale”:
EC, 508.
“I live moments”:
EC, 513.
“unforgettable drawings”:
Ricard Salvat i Ferrer, “Federico García Lorca y las vanguardias catalanas,”
BFFGL
19–20 (December 1996), 184.
“to choose the essential traits”:
EC, 519.
“perpetual dream,” “the great dark mirrors,” and “I AM … terrible and fantastic”:
EC, 518–20.
“nor a member” and “romantic, but ironically”:
Juan González Olmedilla, “Los autores después del estreno,”
Heraldo de Madrid
, October 15, 1927, 2.
“with a vengeance”:
Enrique Díez-Canedo,
“Mariana Pineda de García Lorca,”
El Sol
(Madrid), October 13, 1927, 12.
“It had to come”:
Fernández Almagro, “Primer estreno.”
“a most enjoyable family”:
Pedro Salinas / Jorge Guillén, 75.
“trick from the old theater”:
Enrique de Mesa,
El Imparcial
(Madrid), October 13, 1927, 8, cited in María Francisca Vilches de Frutos and Dru Dougherty,
Los estrenos teatrales de Federico García Lorca
[1920–1945] (Madrid: Tabapress [Grupo Tabacalera; Fundación Federico García Lorca], 1992), 45.
“intentional ingenuousness”:
Francisco Ayala, “Mariana Pineda,”
La Gaceta Literaria
(Madrid), October 15, 1927, quoted and translated in Morris,
Son of Andalusi
a
, 120.
Maiana Pineda
sparks polemic:
Some feared that in the political climate of the time, FGL’s play might even be banned (Alberti,
La arboleda perdida
, 255). On the general debate over the play, see Pedro Salinas / Jorge Guillén, 75, and
La Gaceta Literaria
(Madrid), November 1, 1927, 5.
Maiana Pineda
fails commercially:
G, I
, 513; Josep María Balcells, “Cartas de Margarita Xirgu sobre Lorca y Alberti,”
Cuadernos Hispanoamericanos
433–36, (July-August 1986), 197; María Francisca Vilches de Frutos and Dru Dougherty,
Los estrenos teatrales de Federico García Lorca
[1920–1945] (Madrid: Tabapress [Grupo Tabacalera; Fundación Federico García Lorca], 1992), 45.
“It must be something written”:
Gonzalo Torrente Ballester, “Mariana Pineda, 1927,”
Primer Acto
50 (February 1963), 27, quoted and translated in Morris,
Son of Andalusia
, 120.
“great success”:
EC
, 565.
“an embarrassment”:
FGL to Pepín Bello, in Luis Martínez Cuitino, introduction to FGL,
Mariana Pineda
, ed. Luis Martínez Cuitino (Madrid: Cátedra, 1991), 70–71.
“I’d do it another way”:
Juan González Olmedilla, “Los autores después del estreno,”
Heraldo de Madrid
, October 15, 1927, 2.
“ANTIARTISTIC magazine”:
Salvador Dalí escribe a Federico García Lorca
, 80.
“Did you see”:
EC, 564.
FGL achieves celebrity:
For evidence of his growing renown see, for example, Enrique Díez-Canedo, “Los poetas jóvenes de España,”
La Nación
(Buenos Aires), October 5, 1924, 5;
Mercure de France
, July 1, 1926, 235; EC, 354;
G, I
, 414; “Letras españolas en Alemania,”
El Sol
(Madrid), May 8, 1926, 4;
Heraldo de Madrid
, October 20, 1927.
Baeza’s “A Generation”:
Ricardo Baeza, “De una generación y su poeta,”
El Sol
(Madrid), August 24, 1927, 1.
“must have produced”:
EC, 521.
“medieval and random”:
Gerardo Diego, “Federico García Lorca. Canciones. Suplementos de ‘Litoral,’”
Revista de Occidente
, XVII (1927), 380–81.
“a game”:
Juan González Olmedilla, “Los autores después del estreno,”
Heraldo de Madrid
, October 15, 1927, 2.
“Ah, how talented I am”:
Ontañón,
Unos pocos, 110
; author interview with Santiago Ontañón.
“let himself be adored”:
Guillermo de Torre to Jorge Guillén, papers of Jorge Guillén (shelf mark, bMS span 100 (484), Houghton Library, Harvard University.
Rivalry between FGL and Alberti:
Aub,
Conversaciones
, 549; Altolaguirre,
Obras completas
I, 66; Luis García Montero, introduction to Alberti,
Federico García Lorca: Poeta y amigo
, 29–30;
EC
, 370n; Pedro Salinas / Jorge Guillén, 76, 117; Joaquín Amigo to FGL (June 5, 1927), AFFGL; Alberti, Federico
García Lorca: Poeta y amigo
, 72. In February 1926, Enrique Díez-Canedo wrote of FGL’s “undoubted influence” on Alberti (“Revista de libros. Rafael Albert—Marinero en tierra,”
El Sol
[Madrid], February 20, 1926, 2). In 1928, José Mora Guarnido referred to Alberti as a “García Lorca in a minor key” (“Dos poetas andaluces: Federico García Lorca y Rafael Alberti,”
Pluma
IV [1928], 56).
“You don’t know”:
Rafael Alberti to FGL (February 1927), AFFGL.
“go with him”:
Santiago.
FGL insults Gómez de la Serna:
Ontañón, “Una semblanza.”
Guillén praises FGL:
Guillén, “Federico en persona.”
“We’re the
captains”:
EC
, 597.
“the filthiest beast”:
Buñuel,
Obra literaria
, 36.
Góngora tricentennial:
Alberti,
La arboleda perdida
, 237–61; Morris,
A Generation, 10,-11
, 22;
Lola, amiga y suplemento de Carmen
(Santander), April 1928; Paloma Ulacía Altolaguirre, Concha Méndez.
Memorias habladas, memorias armadas
, intr. María Zambrano (Madrid: Mondadori España, 1990), 50–51; Dámaso Alonso,
Poetas españoles contemporáneos
, 3rd ed. rev. (Madrid: Gredos, 1969), 169–70.
“Brilliant Pleiad”:
“Coronación de Dámaso Alonso,”
Lola, amiga y suplemento de Carmen
(Santander), April 1928.
Guillén describes trip to Seville:
Jorge Guillén to Germaine Guillén (December 15, 1927), papers of Jorge Guillén, Wellesley College Archive.
Ignacio Sánchez Mejías, background:
S. Morales Jiménez,
Buscando una muerte de luz
(Motril: Copartgraf, 1979), 59; Nicholas J. Collins, “Reality in Lorca’s ‘Llanto por Ignacio Sánchez Mejías,’”
Reflexión
2 1, 1, 2nd ep. (Ottawa, July [May-August] 1972), 99–104; William Lyon, “La rebelión de Ignacio Sánchez Mejías,”
El País
(Madrid), August
13, 1984, 9; Alberti,
La arboleda perdida
, 241; FM, 202–3, 240–41.
“seduction itself”:
Auclair, 19.
Revelry in Seville:
Jorge Guillén to Germaine Guillén (December 15, 1927), papers of Jorge Guillén, Wellesley College Archive; Alberti,
La arboleda perdida
, 243, 258–61; Dámaso Alonso,
Poetas españoles contemporáneos
, 3rd ed. rev. (Madrid: Gredos, 1969), 155;
G, I
, 525–26.
FGL reads poetry in Seville:
Alberti,
Federico García Lorca: Poeta y amigo
, 275–77.
Luis Cernuda meets FGL:
Luis Cernuda, “Federico García Lorca (recuerdo),”
Hora de España
, 18, June 1938, 13–20; Luis Cernuda, “Notas eludidas: Federico García Lorca,”
Heraldo de Madrid
, November 26, 1931, 12.
Generation of ’27:
Ricardo Baeza, “De una generación poética,”
El Sol
(Madrid), August 24, 1927, 1; Morris,
A Generation;
Dámaso Alonso, “Una generaciðn poetica (1920–36),”
Poetas españoles contemporáneos
, 3rd ed. rev. (Madrid: Gredos, 1969); Juan Marichal, “La universalización de España (1898–1936),” in Soria Olmedo, 11–23; Luis García Montero, introduction to Alberti,
Federico García Lorca: Poeta y amigo
, 18–21. FGL knew his fellow poets’ work so well that in 1928 he wrote a witty series of pastiches of their poems (see “Antología ‘moderna,’” OC, I, 781–93).
“We love each other”:
Pinto.”
“astronomical maps … satellites”:
“Coronación
de Dámaso Alonso,”
Lola, amiga y suplemento de Carmen
(Santander), April 1928.
12. Madness of Breeze and Trill: 1928
“at peace with myself”:
EC, 543.
“an absolute scandal”:
EC, 551.
FGL publishes first issue of
gallo:
“Una comida literaria:
gallo
y sus simpatizantes en la Venta de Eritaña,”
Defensor de Granada
, March 9, 1928, 1; EC, 547–62; Martínez Nadal,
Federico García Lorca. Mi penúltimo libro
, 247; Antonio Gallego Morell, “Ilusión y kikirikí de
gallo,”
in
gallo, revista de granada
. 1928, facsimile ed. (Granada: Comares, 1988), xiv, xviii. On the magazine’s distribution in Madrid, see EC, 553n.
“who have given”:
Gallego Morell, “Ilusión y kikirikí de
gallo,”
in
gallo. revista de granada
. 1928, facsimile ed. (Granada: Comares, 1988), xvi.
“the way you hold”:
“Una comida literaria:
gallo
y sus simpatizantes en la Venta de Eritaña,”
Defensor de Granada
, March 9, 1928, 1.
“As I’m its father”:
EC, 551.
“hostile new cock” and “chicken coop”:
“Silueta del día: Gallismo,”
Defensor de Granada
, October 30, 1928.
FGL publishes
Pavo:
“Pavo en la calle,”
Defensor de Granada
, March 18, 1928, 1; Pavo (Granada), March 1928.
“succulent… prosperous life”:
“Pavo en la calle,”
Defensor de Granada
, March 18, 1928, 1.
Dalí’s “Anti-Artistic Manifesto”:
In March 1928, Dalí had printed the inflammatory document in Catalan and mailed it to Barcelona’s cultural and business elite, who were scandalized. One critic labelled the manifesto “Futurist crap.” In the document, Dalí and his cosignatories aligned themselves with the great artists of the day; these included Picasso, Tzara, Cocteau, Stravinsky, André Breton, and FGL (Sebastian Gasch,
L’Expansió de I’art català al mon
[Barcelona: Edición privada, 1953], 206; Jaime Brihuega,
Manifiestos, proclamas, panfletos y textos doctrinales. Las vanguardias artísticas en España
. 1910–1931 [Madrid: Ediciones, 1979], 157–61).
“To me”:
Pedro Salinas / Jorge Guillén, 88.
“anti-art”:
Sebastian Gasch,
L’Expansió de l’art català al mon
(Barcelona: Edición privada, 1953), 142.
“to the four winds”:
FM, xxiv.
“marvelous … disappoint my parents”:
EC, 437.
Relationship between FGL and Francisco García Lorca:
FM
, iv; Francisco García Lorca, prologue to FGL,