- Series: FSG Classics
- Paperback: 1056 pages
- Publisher: Farrar, Straus and Giroux; Revised edition (August 1, 2002)
- Language: Spanish
- ISBN-10: 0374526915
- ISBN-13: 978-0374526917
- Product Dimensions: 6.1 x 1.8 x 9.2 inches
- Shipping Weight: 3 pounds (View shipping rates and policies)
- Average Customer Review: 42 customer reviews
- Amazon Best Sellers Rank: #82,591 in Books (See Top 100 in Books)
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The Collected Poems: A Bilingual Edition (Revised) (Spanish) Paperback – August 1, 2002
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From Library Journal
Life in the shadow of death, desire frustrated at every turn, and speech overtaken by the unknown are the concerns of this charismatic Spanish poet and dramatist. In the past decade, Lorca (1898-1936) has become an icon, and because so many new manuscripts, translations, and commentaries have surfaced, the previous edition of his collected poems (LJ 3/15/92) has been expanded and revised. It now incorporates Poet in New York (LJ 2/1/88), a volume of poems he composed during the nine months in 1929-30 that he spent in the city, which he deemed "one of the most useful experiences" of his life. Also included is a more "reliably ordered" version of one of the poet's most ambitious early sequences, "In the Garden of the Lunar Grapefruits," and some new translations by Angela Jaffray, Robert Nasatir, Jerome Rothenberg, and Galway Kinnell. All in all, the revised edition has about 100 more pages of text and about seven more pages of notes. The original edition should suffice for general collections, but for collections specializing in poetry or Spanish literature, this revised version should not be missed. Jack Shreve, Allegany Coll. of Maryland, Cumberland
Copyright 2002 Cahners Business Information, Inc.
“[The translations are] both ingenious and accurate, setting a very high standard for translation of verse from Spanish.” ―Michael Wood, The New York Review of Books
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pregnant with rainbows
shatters its mirrors
over the grove.
There are the longer forms of the GYPSY BALLADS (1924-27), with their air of popular storytelling, a narrative of loss that leaves many of its questions unresolved. There are the sprawling Whitmanesque poems he wrote from America in 1930-31, later published as POET IN NEW YORK. And there is his return to simplicity in his final years with THE TAMARIT DIVAN, pain (and sometimes joy) contained in almost classical form:
Every afternoon in Granada
a child dies, every afternoon.
Every afternoon the water sits down
to talk things over with its friends. [...]
Fortunately, this volume has a 64-page introduction by Christopher Maurer that quite superbly places Lorca in his geographical, social, and stylistic context. Born in Andalusia, he challenged the hegemony of Madrid, fighting for a style closer to the heart of his people. Born of a bourgeois family, he nonetheless felt a lasting concern for the poor, and was ultimately shot as a leftist by Franco's troops. The friend of Buñuel and Dali, he was a surrealist of words, but with the natural invention of a child, and always in touch with the pulse of his country:
[...] I will give everything away
and weep my passion
like a lost child
in a forgotten tale.
This collection contains all of Lorca's freestanding poetry, but not his sometimes equally poetical prose, nor the songs included in his PLAYS; his productivity is even more amazing when you consider how hard he was working as a playwright, theater director, and social educator. He was also a visual artist; this book uses a lovely watercolor for its cover and line drawings to mark the various sections. But it may well be too much to digest; a more compact ANTHOLOGY has been in print for some time, with translations by such poets as WS Merwin, Stephen Spender, and Langston Hughes. The dozen translators represented here are less celebrated individually, but their collective work is very fine. Still, when a poet uses words as Lorca did, as images whose rightness is instinctive rather than literal, there can be no one correct translation of his work. Fortunately, both this and the Merwin anthology contain the original Spanish as well, so readers can absorb the poet's unique atmosphere for themselves.
This is coming from a native Spanish speaker though so I guess I’m more liable to notice these small things but overall this is lovely