Lorca
Page 75
(Barcelona: Edición privada, 1953), 154.
Dalí meets Gala Eluard:
Salvador Dalí escribe a Federico García Lorca
, 154;
G, I
, 589; José María Moreiro, “Dalí en el centro de los recuerdos [Entrevistas con Ana María Dalí, Pepín Bello, Cristino Malloy y Rafael Sánchez Ventura],”
El País
Semanal, October 23, 1983, 19, 21; Buñuel,
Mi último suspiro
, 179.
Dalí joins surrealists:
Rodrigo,
Lorca-Dalí
, 217; Ana María Dalí, 136–39.
“He’s a disgrace”:
Salvador Dalí escribe a Federico García Lorca
, 95.
“a self-destructive rage … from everything”:
Salvador Dalí, with André Parinaud, 81.
“As the authentic poet”:
OC,
III
, 104.
FGL meets Carlos Morla Lynch:
Auclair, 162; Morla Lynch, 22–29; author interview with Veronica Morla.
Carlos and Bebé Morla Lynch, background:
Morla Lynch, 312; Auclair, 164–65; Martínez Nadal,
Federico García Lorca. Mi penúltimo libro, 66;
Escobar; author interview with Veronica Morla.
“very seductive”:
Jorge Guillén to Germaine Guillén (August 3, 1934), papers of Jorge Guillén, Wellesley College Archive.
“He comes and goes”:
Morla Lynch, 28–35.
“Even if” and “always that deep obsession”:
Morla Lynch, 44.
FGL and Morla Lynch discuss sorrow:
Morla Lynch, 39–40. Information on the death of Colomba Morla Lynch is drawn from Auclair, 167; “Colomba Morla Vicuña,”
El Impartial
(Chile), August 1928, Veronica Morla Archive; author interview with Veronica Morla.
“used to get angry”:
Altolaguirre,
Obras completas
I, 287–88.
“I’m an aesthetic … anarchic Catholic”:
Altolaguirre,
Obras completas
I, 214; Santiago Ontañón, quoted in “Federico García Lorca,”
La Clave
160, Spanish Television, June 21, 1980.
“with photographs”:
Revista de Occidente
XXII, LXVI (October-December 1928), 294.
“decorative bad taste” and “grandeur”:
Jorge Guillén to Germaine Guillén (November 14, 1928), papers of Jorge Guillén, Wellesley College Archive.
“Ode to the Most Holy Sacrament”:
All passages from this poem are taken from OC, I, 463–69, translated in FGL,
Collected Poems
, 598–609.
“surrealistic things … but false ones” and “a stinking ode”:
Buñuel,
Obra literaria
, 36.
“tormented by God … concerns”:
Fabienne Badu,
Antonieta
, 1900–1931 (Mexico: Fondo de Cultura Económica, 1991).
“Were I to write … rest of the poem”:
FM
, 155, trans. GM, 127–28.
“Gold, frankincense, and myrrh”:
See Maurer, Notes to FGL,
Collected Poems
, 836.
FGL marches in Holy Week procession:
José Martín Campos, “Federico García Lorca fue cofrade activo de Santa María de la Alhambra de Granada,”
Ideal
(Granada), May 17, 1972.
FGL battles cold and “I’m not to blame … spiritual rest”:
FGL to parents (April 1929), AFFGL.
FGL in Bilbao:
El Liberal
(Bilbao), April 16 and 17, 1929, 1; “García Lorca en el Ateneo,”
El Pueblo Vasco
, April 16, 1929, 1; EC, 604–5.
“It could earn me lots”:
EC, 602–3.
FGL’s father talks to Martínez Nadal:
Martínez Nadal,
Cuatro lecciones
, 33–34. Another friend of FGL’s, Santiago Ontañón,
believed that Don Federico was aware of his son’s involvement with Emilio Aladrén and deliberately sent FGL to New York to remove him from Aladrén’s influence. “Don Federico was no fool,” said Ontañón.
“elegant lecturer’s outfit … as a lecturer”:
EC, 606.
De los Ríos agrees to accompany FGL:
See
Defensor de Granada
, June 11, 1929, 1.
“I find myself full of responsibility”:
“En el hotel Alhambra Palace. En homenaje a Margarita Xirgu y Federico García Lorca,”
Defensor de Granada
, May 7, 1929, 1, in
OC
, III, 195.
Mariana Pineda
produced in Granada and “the frail work of a beginner”:
Defensor de Granada
, April 23, 28, and 30, 1929; May 3 and 4, 1929. AFFGL contains a clipping of Francisco Oriol Catena’s review of
Mariana Pineda
, “Impresiones. ‘Mariana Pineda,’”
Defensor de Granada
, May 3, 1929.
FGL and Xirgu attend banquet and “If by the grace … incandescent joy”:
“En el hotel Alhambra Palace. En homenaje a Margarita Xirgu y Federico García Lorca,”
Defensor de Granada
, May 7, 1929, 1, in OC, III, 194–96.
“Keep it or tear it up,” “New York seems horrible,” and “Papa … practical life”:
EC, 612.
FGL leaves Spain:
Defensor de Granada
, June 9, 1929;
La Gaceta Literaria
(Madrid), June 15, 1929, 6;
La Voz
(Madrid), June 14, 1929;
Heraldo de Madrid
, June 14, 1929; and
G, I
, 607.
“Onward!”:
EC, 611.
14. New World: 1929–30
“She’s a bourgeois”:
G, I
, 607, and Río, “Federico García Lorca,” 204. On FGL in Paris see also Mathilde Pomès, “Españoles en París. [XIV. Federico García Lorca,”
ABC
(Madrid), November 22, 1967.
FGL in London:
G, I
, 608–11; Río,
Vida y obras
, 37; Río, “Federico García Lorca,” 204; Salvador de Madariaga, “Tres estampas de Federico García Lorca,” in
De Galdós a Lorca
(Buenos Aires: Sudamericana, 1960), 221.
“I don’t know why”:
EC, 614.
“black as blackest”:
FGL, “The Poet Writes,” 205. Except where noted, all quotations from FGL’s letters home from the United States are taken from “The Poet Writes”; the letters appear in Spanish in
EC
, 613–88.
“into the belly … the ocean”:
FGL, “The Poet Writes,” 205–6.
FGL arrives in New York:
The date of FGL’s arrival appears on page 8 of FGL passport, AFFGL. For FGL’s response to arrival see FGL, “The Poet Writes,” 205–6, and FGL, “Lecture: A Poet in New York,” 185.
New York City, 1929:
See, in particular, Robert A. M. Stern, Gregory Gilmartin, and Thomas Mellins, with David Fishman and Raymond W. Gastil,
New York
1930. Architecture and Urbanism Between the Two World Wars (New York: Rizzoli, 1987). Among many Spaniards to publish their impressions of New York in the 1920s and early 1930s was FGL’s old Residencia colleague José Moreno Villa, whose 1927 book
Pruebas de Nueva York
offered a dismaying account o
f the “violent” American city. FGL was also familiar with the French writer Paul Morand’s
New-York
(1930) (Leslie Stainton, ‘“¡O Babilonia! O Cartago! O Nueva York!’: El europeo ante Manhattan, Manhattan ante el europeo,”
BFFGL 10
(February 1992), 192–211).
FGL enrolls in Columbia:
Eisenberg,
Textos y documentos
, 21; FGL, “The Poet Writes,” 207, 215–16, 224; Adams, 91, 119.
FGL visits Times Square:
FGL, “The Poet Writes,” 208–9.
FGL’s initial response to America:
In general, see FGL, “The Poet Writes,” 206–8; FGL, “Lecture: A Poet in New York,” 187–88; Adams, 120–21; and Crow, 44. On FGL’s reaction to Prohibition see Adams, 126–27, and FGL, “The Poet Writes,” 245, 273. On his response to the Protestant faith see FGL, “The Poet Writes,” 219–21. On his reaction to Americans see Crow, 6; and FGL, “The Poet Writes,” 233–34.
“shishpil”:
Eisenberg, “Cuatro Pesquisas,” 536. On sexual mores in America and FGL’s response to American sexuality, see Crow, 4; Luis de Oteyza’s novel
Anticípolis
, 101, 226–27; and John K. Walsh, “The Social and Sexual Geography of Poeta en Nueva York,” in C. Brian Morris, ed.,
“Cuando yo me muera …” Essays in Memory of Federico García Lorca
(Lanham, M.D.: University Press of America, 1988).
FGL’s buoyant letters home:
FGL, “The Poet Writes,” 206, 224–25.
FGL teaches popular songs:
FGL, “The Poet Writes,” 216–17; Río,
Poeta en Nueva York
, 259.
FGL’s inability to learn English:
Adams, 119–21; Río, “Federico García Lorca,” 228; Eisenberg,
Textos y documentos
, 20; FGL, “The Poet Writes,” 217–18, 222; Andrew A. Anderson, “Una amistad inglesa de García Lorca,”
Insula
462 (May 1985), 3–4; Diers, 27–28; Ontañón, “Semblanza”; and Daniel Solana, “Federico García Lorca,”
Alhambra
(New York), vol. 12 (August 1929), 24.
Sofía Megwinoff tutors FGL:
Daniel Eisenberg, introduction to FGL, Songs, 11; FGL, “The Poet Writes,” 215–16; Eisenberg, “Cuatro Pesquisas,” 533–536; “Lorca in New York,” WGBH-TV, Boston (May 10, 1986).
Description of FGL in New York:
Río,
Vida y obras
, 37, and AFFGL.
FGL feigns lameness:
Eisenberg, “Cuatro Pesquisas,” 537.
“I don’t see much”:
FGL, “The Poet Writes,” 222.
FGL attends
tertulias:
Author interview with Amelia Agostini del Río; B. Bussell Thomson and J. K. Walsh, “Un encuentro de Lorca y Hart Crane en Nueva York,”
Insula
479 (October 1986), 1; author interview with Angel Flores.
FGL visits Hart Crane:
B. Bussell Thomson and J. K. Walsh, “Un encuentro de Lorca y Hart Crane en Nueva York,”
Insula 479
(October 1986), 1; author interview with Angel Flores.
“terrific poet”:
Author interview with Angel Flores.
Felipe and FGL discuss Whitman:
Río,
Poeta en Nueva York
, 37; Luis Rius,
León Felipe, poeta de barro
, 2nd ed. (Mexico: Colección Málaga, 1974), 161. Felipe later described his own six-year American sojourn as a search for “Whitman / and I did not find him.”
FGL frequents Harlem:
Benumeya; FGL, “Lecture: A Poet in New York,” 189–92; Christopher Maurer, “Los negros,” in
Federico García Lorca escribe a su familia
, 143–50; Adams, 130; FGL, “The Poet Writes,” 218–19; Crow, 3. On homosexuality in Harlem see Michael Bronski,
Culture Clash: The Making of Gay Sensibility
(Boston: South End Press, 1984), 73.
FGL writes first New York poems:
FGL, Poet in New York; Christopher Maurer, “Los negros,” in
Federico Garcia Lorca escribe a su familia
, 146–50; FGL, “The Poet Writes,” 219, 226–27.
“a world shameless and cruel enough”:
Tiem po, “Conversaciones.”
“enriched and changed”:
FGL, “Nota autobiográfica,” in OC, III, 307.
“and I think … don’t tell anyone”:
FGL, “The Poet Writes,” 226.
“time to feel lonely”:
FGL, “The Poet Writes,” 228.
“melancholy:
” Concha Espina,
Singladuras. Viaje americano
(Madrid: Compañía Ibero-Americana de Publicaciones, 1932), 150–53.
“shadow of absence”:
Río,
Vida y obras
, 37–38. Privately, del Río may have known more than he claimed. Years later his wife, Amelia, remembered confronting her husband one day with a rumor that FGL was homosexual. “Forget you’ve heard anything about it,” Angel told her, “because Federico is doing everything he can to overcome it” (author interview with Amelia Agostini del Río).
FGL roams Manhattan at night:
FGL, “The Poet Writes,” 230; Crow, 6, 44.
FGL writes childhood poems:
FGL,
Poet in New York;
García-Posada, introduction to FGL,
Poesía
, I, 2nd ed. (Madrid: Akal, 1982), 23; Eisenberg, “A Chronology,” 236; FGL, “Lecture: A Poet in New York,” 186; Isabel García Lorca, 12–13; Christopher Maurer, introduction to FGL,
Poet in New York
, xxiii.
“I love him”:
Author interview with Angel Flores.
FGL travels to Vermont:
Daniel Eisenberg, introduction to FGL,
Songs;
author interview with Philip Cummings; Río,
Poeta en Nueva York;
FGL, “The Poet Writes,” 231, 235–41.
“Ay! I’ve left the dungeon!”:
Author interview with Philip Cummings.
“barcarole of tenderness”:
FGL wrote this on the back of a photograph of himself with the Cummings family (
Federico García Lorca escribe a su familia
, 23).
FGL with Cummings family:
Cummings; author interview with Philip Cummings; FGL, “The Poet Writes,” 235–40; Kessel Schwartz, “García Lorca and Vermont,”
Hispania
, 42 (1959), 50–55.
FGL writes poetry in Vermont:
FGL, “The Poet Writes,” 237; Kessel Schwartz, “García Lorca and Vermont,”
Hispania
, 42 (1959), 50–52; author interview with Philip Cummings, Daniel Eisenberg, introduction to FGL,
Songs
, 11; FGL,
Poet in New York
. In an earlier version of “Double Poem of Lake Eden,” FGL was even more direct: “I want to cry speaking my name, / Federico García Lorca, on the shore of this lake.”
“It doesn’t stop raining”:
EC, 642–43.
“You’re going to bury me”:
Author interview with Philip Cummings.
FGL arrives in Bushnellsville:
Río,
Poeta en Nueva York
, and Angel del Río, “Fotos de Federico García Lorca en Norteamérica (1929),”
PSA
XLII (1966), 66–69.
FGL in Bushnellsville:
Angel del Río, “Fotos de Federico García Lorca”, 66–69; Eisenberg, “A Chronology,” 238; Eisenberg, “Cuatro Pesquisas”; FGL, “The Poet Writes,” 242–43; author interview with Amelia Agostini del Río;
Federi
co García Lorca escribe a su familia
, 27; Adams, 118.
FGL describes “Mary’s” death:
FGL, “Lecture: A Poet in New York,” 194–198; Río,
Poeta en Nueva York;
Eisenberg, “Cuatro Pesquisas,” 531; Río, “Federico García Lorca,” 256;
G, I
, 50;
Defensor de Granada
, March 27, 1928; Isabel García Lorca; C. Brian Morris, ‘“Aqua que no desemboca’,” in C. Brian Morris, ed.,
“Cuando yo me muera” Essays in Memory of Federico García Lorca
(Lanham, M.D.: University Press of America, 1988), 168–69.
FGL moves into John Jay Hall:
EC
, 646–49; Angel del Río, “Federico García Lorca vivió como un colegial en Nueva York,”
La Prensa
(New York), October 15, 1937, 4; FGL, “The Poet Writes,” 244–51; Eisenberg,
Textos y documentos
, 27.
FGL befriends Crow and Hayes:
Crow, 3–5, 44, 54; FGL, “Nota autobiográfica,” in OC, III, 306–7; and Onofre di Stevano and Darlene Lorenz, “Conversations with three Emeritus Professors from UCLA: John A. Crow, John E. Englekirk, Donald F. Fogelquist,” Dester,
Revista Literaria de los Estudiantes
Graduados
, UCLA Department of Spanish and Portuguese, VIII, 1 (January 1979), 29–42.
FGL meets Brickells:
Brickell; Adams, 123; Christopher Maurer, “Presentación,” in
Federico García Lorca escribe a su familia
, 13;
EC
, 668.
“phenomenal”:
Ian Gibson,
Un Irlandés en España
(Barcelona: Planeta, 1981), 183. On FGL’s piano-playing in general see FGL, “The Poet Writes,” 228; Adams, 123; Crow, 3; Brickell, 390; and Dámaso Alonso, “Federico García Lorca y la expresión de lo español,” in
Poetas españoles contemporáneos
, 3rd. ed. (Madrid: Gredos, 1978), 260–61.
FGL continues writing poems:
Crow, 44–47; Eisenberg, “A Chronology,” 238–42; FGL,
Poet in New York; Autográfos I
, xxxv, 243.
“So you can see”:
FGL,
Autógrafos
I, xxxv, 243.
“rapid progress”:
EC, 652.
“I am more responsible”:
FGL, “The Poet Writes,” 258.
“soup, a platter of meat”:
FGL, “The Poet Writes,” 232, 255–56.
FGL and American theater:
FGL, “The Poet Writes,” 231–32, 256, 258–59, 265–66; Christopher Maurer, “El teatro,” in
Federico García Lorca escribe a su familia
, 137–39; Benumeya. José Antonio Rubio Sacristán, who coincided with FGL in New York, remembered attending plays with FGL—including works by Chekhov and O’Neill, and productions at Eva Le Gallienne’s Civic Repertory Company (author interview with José Antonio Rubio Sacristán). During FGL’s stay, the great Peking actor Mei Lan-Fang paid a two-week visit to New York and galvanized the city’s theater world with his costumed impersonations of female characters. Mei was the talk of the town, and if, as is probable, FGL saw him perform (Mei Lan-Fang opened his two-week run in New York on February 17, 1930, during FGL’s last full month in the city), he would have been struck by what critic Brooks Atkinson called the “unalloyed imagination” of Mei’s performance (