By Jonathan Mayhew
Federico García Lorca (1898–1936) had huge, immense effect at the iteration of yankee poets who got here of age in the course of the chilly conflict, from Robert Duncan and Allen Ginsberg to Robert Creeley and Jerome Rothenberg. In huge numbers, those poets haven't in basic terms translated his works, yet written imitations, parodies, and pastiches—along with essays and important studies. Jonathan Mayhew’s Apocryphal Lorca is an exploration of the afterlife of this mythical Spanish author within the poetic tradition of the United States.
The booklet examines how Lorca in English translation has develop into a in particular American poet, tailored to American cultural and ideological desiderata—one that bears little resemblance to the unique corpus, or maybe to Lorca’s Spanish legacy. As Mayhew assesses Lorca’s enormous impact at the American literary scene of the latter 1/2 the 20 th century, he uncovers basic truths approximately modern poetry, the makes use of and abuses of translation, and Lorca himself.
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Extra resources for Apocryphal Lorca: Translation, Parody, Kitsch
Within this more complex construction of Federico García Lorca (Himself ) 17 Lorca, of course, we must also come to terms with Lorca’s own exploitation of seemingly simple modes. The idea of Lorca as a well-read, self-conscious, and astute artist is tacitly assumed in the work of the best scholars and critics in the field, even when they do not feel the need to argue for this view explicitly. Nevertheless, more simplistic views of the poet persist in the popular imagination and around the edges of Lorca scholarship.
Grant, or, for that matter, with Kaufman himself ? While disqualifying other interpretations, Kaufman does not himself attempt an accurate view of Lorca: his poems, rather, enact creative misreadings of a few brief passages from two or three texts from Poet in New York. In this context, it is not particularly important to determine what Lorca himself might have meant by the phrase “el azul crujiente” in “Norma y paraíso de los negros”: the American poet has made Lorca’s phrase (or, more accurately, Belitt’s translation of Lorca’s phrase) distinctively his own.
The well-known lecture on the duende is a case in point: this short prosepiece written for oral performance is allusive to the point of being nearly incomprehensible to the average undergraduate Spanish major in an American university circa 2008. Lorca’s multifaceted definition of the duende is not easy to grasp even when the references are explained. This lecture is not, in any case, a straightforward description of Lorca’s own creative process that can be taken at face value, but a complexly metaphorical description of a concept that continually changes shape before the eyes of the reader.
Apocryphal Lorca: Translation, Parody, Kitsch by Jonathan Mayhew