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Critical Survey of Poetry, 2d Rev. Ed. Federico García Lorca Born: Fuentevaqueros, Spain; June 5, 1898 Died: Víznar, Spain; August 19, 1936 Principal Poetry Libro de poemas, 1921 Canciones, 1921-1924, 1927 (Songs, 1976) Romancero gitano, 1924-1927, 1928 (The Gypsy Ballads of García Lorca, 1951, 1953) Poema del cante jondo, 1931 (Poem of the Gypsy Seguidilla, 1967) Llanto por Ignacio Sánchez Mejías, 1935 (Lament for the Death of a Bullfighter, 1937, 1939) Primeras canciones, 1936 Poeta en Nueva York, 1940 (Poet in New York, 1940, 1955) Diván del Tamarit, 1940 (The Divan at the Tamarit, 1944) Other Literary Forms The publisher Aguilar of Madrid issued a one-volume edition of Federico García Lorca's works, compiled and annotated by Arturo del Hoyo, with a prologue by Jorge Guillén and an epilogue by Vicente Aleixandre. In addition to the poetry, it includes García Lorca's plays, of which the tragic rural trilogy Bodas de sangre (pr. 1933, pb. 1935; Blood Wedding, 1939), Yerma (pr. 1934; English translation, 1941), and La casa de Bernarda Alba (wr. 1936; pr., pb. 1945; The House of Bernarda Alba, 1947) are world famous and represent García Lorca's best achievement as a poet become director-playwright. In order to portray all the facets of García Lorca's artistic personality, the Aguilar edition also includes his first play, El maleficio de la mariposa (pr. 1920, pb. 1957; The Butterfly's Evil Spell, 1963); an example of his puppet plays, Los títeres de Cachiporra: La tragicomedia de don Cristóbal y la señá Rosita (wr. 1928, pr. 1937; The Tragicomedy of Don Cristóbal and Doña Rosita, 1955); selections from Impresiones y paisajes (1918; impressions and landscapes), García Lorca's first published prose works, in which his genius is already evident in the melancholic, impressionistic style used to describe his feelings and reactions to the Spanish landscape and Spanish life; several short prose pieces and dialogues; a number of lectures and speeches; a variety of representative letters to friends; texts of newspaper interviews; poems from the poet's book of suites; fifteen of his songs; and twenty-five of his drawings. Although the Aguilar edition reflects a consummate artist, still missing from its pages are a number of other works: a five-act play, El público (fragment, wr. 1930, pb. 1976; The Audience, 1958), and the first part of a dramatic biblical trilogy titled "La destrucción de Sódoma" (wr. 1936; the destruction of Sodom), on which García Lorca was working at the time of his death. Lost are "Los sueños de mi prima Aurelia" (the dreams of my cousin Aurelia) and "La niña que riega la albahaca y el príncipe pregunton" (the girl who waters the sweet basil flower and the inquisitive prince), a puppet play presented in Granada on January 5, 1923. "El sacrificio de Ifigenia" (Iphigenia's sacrifice) and "La hermosa" (the beauty) are titles of two plays whose existence cannot be substantiated. Reportedly, García Lorca also collected a group of poems titled "Sonetos del amor oscuro" (sonnets of dark love), the title suggesting to certain critics the poet's preference for intimate masculine relationships. Until the 1960's, most of the works evaluating García Lorca centered on the events of his life and death and were only interspersed with snatches of literary criticism. Since his death, thematic and stylistic studies by such noted scholars as Rafael Martínez Nadal, Gustavo Correa, Arturo Barea, Rupert C. Allen, and Richard L. Predmore have served to illuminate García Lorca's symbolic and metaphorical world. Achievements The typically Spanish character of his plays and poetry, enhanced by rich and daring lyrical expression, have made Federico García Lorca one of the most universally recognized poets of the twentieth century. His tragic death in 1936 at the hands of the Falange, the Spanish Fascist Party, in the flower of his manhood and literary creativity, merely served to further his fame. The first milestone of García Lorca's short but intense career was the publication of The Gypsy Ballads of García Lorca, which solidly established his reputation as a fine poet in the popular vein. His dark, brooding, foreboding ballads of Gypsy passion and death captured the imagination and hearts of Spaniards and foreigners, Andalusians and Galicians, illiterate farmers and college professors. Critics saw in García Lorca's poems the culmination of centuries of a rich and diverse Spanish lyric tradition. For example, Edwin Honig has noted that García Lorca's poetry took its inspiration from such diverse sources as the medieval Arabic-Andalusian art of amorous poetry; the early popular ballad; the Renaissance synthesis in Spain of classical traditions, as exemplified by the "conceptist" poetry of Luis de Góngora y Argote; and the cante jondo, or "deep song," of the Andalusian Gypsy. Living in an era of vigorous cultural and literary activity, called by many Spain's second golden age, García Lorca clearly maintained his individuality. His innate charm and wit, his strong and passionate presence, his duende, or "soul," as a performer of Andalusian songs and ballads, and his captivating readings of his own poetry and plays drew the applause and friendship of equally talented writers and artists, such as Rafael Alberti, Pedro Salinas, Jorge Guillén, Vicente Aleixandre, Salvador Dalí, and Luis Buñuel. The poet reached the peak of his popular success in the late 1920's. Both his Songs and The Gypsy Ballads of García Lorca were published to great critical acclaim. In the same period, he delivered two memorable lectures, the first at the cante jondo festival organized jointly with composer Manuel de Falla in Granada, and the second at the festival in honor of Góngora's tercentenary. His play Mariana Pineda (pr. 1927, pb. 1928; English translation, 1950) was produced in Barcelona, and the following year he founded and published the literary journal Gallo. Despite these achievements, however, García Lorca suffered a grave spiritual crisis, to which he alludes in his correspondence but never really clarifies. This crisis led him to reevaluate his artistic output and turn to new experiences and modes of expression. The result of García Lorca's soul-searching can be seen in his later works, especially Poet in New York and Lament for the Death of a Bullfighter. In the former, García Lorca fully unleashes his imagination in arabesques of metaphor which on first reading appear incomprehensible. Poet in New York is a difficult and frequently obscure work that has been viewed as a direct contrast to his earlier poetry. Yet, as Predmore has so painstakingly demonstrated, these poems extend rather than depart from García Lorca's established preference for ambiguous and antithetical symbolism. The two threads that run throughout García Lorca's work are the themes of love and death: They lend a poetic logic and stability to what may otherwise appear chaotic and indecipherable. A study of these themes in García Lorca's poetry and plays reveals a gradual evolution from tragic premonition and foreboding, through vital passion repressed and frustrated by outside forces, to bitter resignation and death. Throughout his life, García Lorca's constant companion and friend was death. The poet Antonio Machado described this intimacy with death in his lament for García Lorca: He was seen walking with Her, alone, unafraid of her scythe. . . . . . . . . Today as yesterday, gypsy, my Death, how good to be with you, alone in these winds of Granada, of my Granada. García Lorca's gift of imagination, his genius for metaphor and volatile imagery, and his innate sense of the tragic human condition make him one of the outstanding poets of the twentieth century. With his execution in Granada in 1936 at the outbreak of the Spanish Civil War, the frustrated personas of his poetry and plays, who so often ended their lives in senseless tragedy, materialized in his own person. In García Lorca, life became art and art became life. Combining the experience of two cultures, he addressed in both, the Andalusian and the American man's primal needs and fears within his own interior world. Biography Federico García Lorca was born on June 5, 1898, in Fuentevaqueros, in the province of Granada. His father, Don Federico García Rodríguez, was a well-to-do landowner, a solid rural citizen of good reputation. After his first wife died, Don Federico married Doña Vicenta Lorca Romero, an admired schoolteacher and a musician. García Lorca was very fond of his mother and believed that he inherited his intelligence and artistic bent from her and his passionate nature from his father. It was in the countryside of Granada that García Lorca's poetic sensibility took root, nourished by the meadows, the fields, the wild animals, the livestock, and the people of that land. His formative years were centered in the village, where he attended Mass with his mother and absorbed and committed to memory the colorful talk, the folktales, and the folk songs of the vega (fertile lowland) which would later find a rebirth in the metaphorical language of his poetry and plays. In 1909, his family moved to Granada, and García Lorca enrolled in the College of the Sacred Heart to prepare for the university. This was the second crucial stage in his artistic development: Granada's historical and literary associations further enriched his cultural inheritance from the vega and modified it by adding an intellectual element. García Lorca wanted to be a musician and composer, but his father wanted him to study law. In 1915, he matriculated at the University of Granada, but he never was able to adapt completely to the regimentation of university studies, failing three courses, one of them in literature. During the same period, he continued his serious study of piano and composition with Don Antonio Segura. García Lorca frequented the cafés of Granada and became popular for his wit. In 1916 and 1917, García Lorca traveled throughout Castile, Léon, and Galicia with one of his professors from the university, who also encouraged him to write his first book, Impresiones y paisajes. He also came into contact with important people in the arts, among them Manuel de Falla, who shared García Lorca's interest in traditional folk themes, and Fernando de los Ríos, an important leader in educational and social reforms, who persuaded García Lorca's father to send his son to the University of Madrid. In 1919, García Lorca arrived in Madrid, where he was to spend the next ten years at the famous Residencia de Estudiantes, in the company of Rafael Alberti, Jorge Guillén, Pedro Salinas, Gerardo Diego, Dámaso Alonso, Luis Cernuda, and Vicente Aleixandre. There García Lorca published his first collection of poems, Libro de poemas, and became involved with the philosophical and literary currents then in vogue. In 1922, García Lorca returned to Granada to conduct with Manuel de Falla a "Festival of Cante Jondo." The years from 1924 to 1928 were successful but troubled ones for García Lorca, marked by moments of elation followed by depression. During these years, García Lorca developed a close friendship with Salvador Dalí and spent several summers with the Dalí family at Cadaqués. He published his second book of poems, Songs, in 1927 and in that same year saw the premiere of Mariana Pineda in Barcelona and Madrid. In December of 1927, García Lorca participated in the famous Góngora tricentennial anniversary celebrations in Seville, where he delivered one of his most famous lectures, "The Poetic Image in Don Luis de Góngora." Gradually, García Lorca's fame spread, and his The Gypsy Ballads of García Lorca became the most widely read book of poems to appear in Spain since the publication of Gustavo Adolfo Bécquer's Rimas in 1871. During the period from May to December of 1928, García Lorca suffered an emotional crisis which prompted him to leave Spain to accompany Fernando de los Ríos to New York. After spending nine months in the United States, a stay that included a visit to Vermont, García Lorca returned to Spain by way of Cuba with renewed interest and energy for his work. The clearest product of this visit was Poet in New York, one of his greatest books of poems, published four years after his death. Upon his return to Madrid in 1930, García Lorca turned his focus increasingly to the dramatic. In 1932, under the auspices of the Republic's Ministry of Education, García Lorca founded La Barraca, a university theater whose aim was to bring the best classical plays to the provinces. In the same period, he saw the successful staging of Blood Wedding and El amor de don Perlimplín con Belisa en su jardín (pr. 1933, pb. 1938; The Love of Don Perlimplín for Belisa in His Garden, 1941). His achievements in Spain were capped by another trip to the New World, this time to Argentina, where Blood Wedding, Mariana Pineda, and La zapatera prodigiosa (pr. 1930, pb. 1938; The Shoemaker's Prodigious Wife, 1941) were staged and received with great enthusiasm. The years 1934 and 1935 saw the writing of the Lament for the Death of a Bullfighter and the premieres of at least four new plays. By 1936, García Lorca had decided to return to Granada for the celebration of his name day and also to bide his time until the political turmoil in Madrid abated. During his stay, the civil war broke out, and amid the fighting between the Nationalist and the Popular forces in Granada, García Lorca was detained and executed on August 19, 1936, in the outskirts of Víznar. His body was thrown into an unmarked grave. Analysis In imagery that suggests an "equestrian leap" between two opposing worlds, Federico García Lorca embodies a dialectical vision of life, on the one hand filled with an all-consuming love for man and nature and, on the other, cognizant of the "black torso of the Pharaoh," the blackness symbolizing an omnipresent death unredeemed by the possibility of immortality. The tension between these two irreconcilable forces lends a tautness as well as a mystery to much of his poetry. "Elegia a Doña Juana La Loca" A recurring theme throughout García Lorca's work which is expressive of this animating tension is that of thwarted love, repressed by society or simply by human destiny and ending inevitably in death. This obsession with unfulfilled dreams and with death is evident in the poet's first collection. In a moving elegy to the Castilian princess Juana la Loca titled "Elegía a doña Juana la Loca," García Lorca details in fifteen stanzas the lamentable fate of a woman driven to madness by her unrequited love for her husband, Felipe el Hermoso. Throughout the poem, García Lorca addresses her as a red carnation in a deep and desolate valley, to whom Death extended a bouquet of withered roses instead of flowers, verses, and pearl necklaces. Like other great tragic heroines of Spanish literature, such as Isabel de Segura and Melibea, and those of García Lorca's own creative imagination, she is a victim of fate. The themes of violent passion and death, later more fully expressed in The Gypsy Ballads of García Lorca, are latent in the description of Juana as a princess of the red sunset, the color of blood and fire, whose passion is like the dagger, whose distaff is of iron, whose flax is of steel. Here, metallic substances are symbols of death; Juana lies in her coffin of lead, and within her skeleton, a heart broken into a thousand pieces speaks of her shattered dreams and frustrated life. "Ballad of the Little Square" In contrast to the bleak symbolism of these works, children and their world interested and delighted García Lorca, and he futilely sought in their charm and innocence a respite from the anguish of existence. In another poem from his first collection, "Balada de la placeta" ("Ballad of the Little Square"), the poet is listening to children singing. In a playful dialogue, the children ask the poet what he feels in his red, thirsty mouth; he answers, "the taste of the bones of my big skull." The poet's consciousness of death's presence mars his contemplation of youthful fun. Although he might wish to lose himself in the child's world, he clearly recognizes in a later poem, "Gacela de la huida" ("Gacela of the Flight"), that the seeds of death are already sown behind that childish exterior: "No one who touching a newborn child can forget the motionless horse skulls." Still, he tries to reject the physical destruction, the putrefaction of death which he so vividly describes in "Gacela de la muerte oscura" ("Gacela of the Dark Death") and in the Lament for the Death of a Bullfighter. "The Song of the Horseman" García Lorca was a master of the dramatic ballad, full of mystery, passion, and dark, sudden violence. His tools were simple words and objects culled from everyday living, that contrasted with and intensified the complex emotions underlying the verse. García Lorca's mastery of the ballad form is exemplified in "Canción de jinete" ("The Song of the Horseman"), from Songs. The horseman's destination is the distant city of Córdoba. Although he knows the roads well and his saddlebags are packed with olives, he fatalistically declares that he will never reach Córdoba. García Lorca never tells a story outright; he makes his audience do the work. Thus, Death is looking at the horseman from the towers of Córdoba, as he cries "Ay! How long the road! Ay! My valiant pony! Ay! That death should wait me before I reach Córdoba." How? Why? Who? Where? These questions are left to the imagination. "Somnabule Ballad" It is through the figure of the Andalusian Gypsy that García Lorca best conveys his personal vision of life. With his characteristic techniques of metaphorical suggestion and dramatic tension, enriched by an artist's palette of colors, García Lorca in The Gypsy Ballads of García Lorca treats his usual subject matter of love and death, passion and destruction, with great lyrical fantasy. The refrain "Green, how much I want you green" establishes the enchanted atmosphere of the famous "Romance sonambulo" ("Somnambule Ballad"), where everything possesses the greenish cast of an interior world: "Green wind, green flesh, green hair." The best known of García Lorca's ballads, it only implies the story behind the death of a pair of lovers: his the result of a wound that runs from his chest to his throat, hers from drowning in the sorrow of having waited for him so long in vain. The themes of passion and violence are underscored by the theme of liberty, denied to the lovers by fate and a false social order. The Gypsy girl's death is already intimated in the first stanza, where she is described as having a shadow on her waist, with green flesh, hair of green, and eyes of cold silver that cannot see. On a first reading, the two lines "The ship upon the sea/ and the horse in the mountain," which precede the description, seem to be a discordant and senseless addition to the narrative. To understand their function, the reader must see them in relation to the theme of liberty. Man is imprisoned by his passions, by destiny, death, a sense of honor, and social institutions. In contrast, the images of the ship upon the sea and the horse in the mountain suggest total freedom. The horse, which in García Lorca's work often represents male virility, prefigures the Gypsy's attainment of the freedom that is his by nature. The image of the ship, on the other hand, has a long tradition of symbolizing liberty, especially in the Romantic period; its interpretation here, as such, is logical and expected. The description of the stars as white frost and the mountain as a filching cat foreshadows the violence of the characters' deaths. Thus, "Somnambule Ballad" offers a profusion of surrealistic and seemingly disconnected images governed by a vigorous inner logic. In this, it is representative of García Lorca's finest works. The repetition of key images-of green, cold silver, the moon, water, and the night-unifies the poem. The Gypsy girl and the Gypsy are together in death and cannot hear the pounding of the drunken Civil Guard on the door. Death has granted them freedom, and all is as it should be: "The ship upon the sea, and the horse on the mountain." Using the local color and ambience of Gypsy life, García Lorca gives voice to his own frustrations and those of man in general. Fettered by passion, destiny, and social norms, man's only escape is through death. Poet in New York The strange poems of Poet in New York are the work of a mature poet. In New York, García Lorca, who had loved life in all its spontaneity, who had grieved over the death of gypsies, their instinctive and elemental passions suffocated, was confronted with the heartless, mechanized world of the urban metropolis. In Poet in New York, the Gypsy is replaced by the black man, whose instinctive impulses and strengths are perverted by the white man's civilization and whose repression and anguish is embodied in the figure of the great King of Harlem in a janitor's suit. The blood of three hundred crimson roses that stained the Gypsy's shirt in "Somnambule Ballad" now flows from four million butchered ducks, five million hogs, two thousand doves, one million cows, one million lambs, and two million roosters. The disrespect for life in this landscape of vomiting and urinating multitudes is portrayed in the death of a cat, within whose little paw, crushed by the automobile, García Lorca sees a world of broken rivers and unattainable distances. Alone, alienated, and frustrated in his endeavors, man cannot appeal to anyone for help, not even the Church, which in its hypocrisy and heathen materialism betrays the true spirit of Christianity. The poet sees death and destruction everywhere. His own loneliness and alienation, described in "Asesinato" ("Murder"), recall the haunting words and melody of the cante jondo: "A pinprick to dive till it touches the roots of a cry." Lament for the Death of a Bullfighter Considered by many to be García Lorca's supreme poetic achievement, the Lament for the Death of a Bullfighter is the quintessence of the Spanish "tragic sense of life." In this lament, García Lorca incorporated aspects of a long poetic tradition and revitalized them through his own creativity. Based on a true incident, as were most of García Lorca's poems, the elegy was written upon the death of his good friend Ignacio, an intellectual and a bullfighter, who was gored by a bull and died in August of 1934. The bullfight is elevated by García Lorca to a universal level, representing man's heroic struggle against death. Death, as always in García Lorca's poetry, emerges triumphant, yet the struggle is seen as courageous, graceful, meaningful. The elegy is divided into four parts: "La cogida y la muerte" ("The Goring and the Death"), "La sangre derrameda" ("The Spilling of the Blood"), "Cuerpo presente" ("The Body Present"), and "Alma ansente" ("Absent Soul"). In general, the poem moves from the concrete to the abstract, from report to essay, from the specific to the general. Part 1 describes the events, the chaos, the confusion, the whole process of death in a series of images appealing to all the five senses. Phones jangle, the crowd is mad with grief, the bulls bellow, the wounds burn. What dominates is the incessant and doleful bell, reminding the poet, with each repetition of "at five o'clock in the afternoon," of the finality of death, worming its way into Ignacio's being, hammering its way into the public mind and into the poet's consciousness. The macabre sights and smells of death are detailed in all their colorful goriness: the white sheet, a pail of lime, snowy sweat, yellow iodine, green gangrene. Time ceases for Ignacio as all the clocks show five o'clock in the shadow of the afternoon. Refusing to look at Ignacio's blood in the sand, García Lorca vents his anger and frustration at seeing all that beauty, confidence, princeliness, strength of body and character, wit, and intelligence slowly seeping out as the moss and the grass open with sure fingers the flowers of Ignacio's skull. The poet's initial reaction of shock and denial slowly softens into gradual acceptance. Utilizing the slower Alexandrine meter in "The Body Present," García Lorca contemplates the form of Ignacio laid out on a sterile, gray, cold stone. The finality of death is seen in the sulphur yellow of Ignacio's face and in the rain entering his mouth in the stench-filled silence. García Lorca cannot offer immortality. He can only affirm that man must live bravely, and that death, too, will one day cease to exist. Hence, he tells Ignacio to sleep, fly, rest: Even the sea dies. Death, victorious, challenged only by the value of Ignacio's human experience, is dealt with in the last part. By autumn, the people will have forgotten Ignacio, robbed by death and time of the memory of his presence. Only those like the poet, who can look beyond, will immortalize him in song. Lament for the Death of a Bullfighter expresses the fundamental attitude of the Spaniard toward death: One must gamble on life with great courage and heroism. Welcoming the dark angels of death, the "toques de bordón" or the black tones of the guitar, the poet is paradoxically affirming life. This is man's only consolation. García Lorca's evolution as a poet was characterized throughout by this movement toward an all-encompassing death. Synthesizing a variety of themes and poetic styles and forms, García Lorca embodied, both in his life and in his verse, modern man's struggle to find meaning in life despite the overwhelming reality of physical and spiritual death. Other Major Works PLAYS: El maleficio de la mariposa, pr. 1920 (The Butterfly's Evil Spell, 1963); Mariana Pineda, pr. 1927, pb. 1928 (English translation, 1950); Los títeres de Cachiporra: La tragicomedia de don Cristóbal y la señá Rosita, wr. 1928, pr. 1937 (The Tragicomedy of Don Cristóbal and Doña Rosita, 1955); El paseo de Buster Keaton, pb. 1928 (Buster Keaton's Promenade, 1957); La doncella, el marinero y el estudiante, pb. 1928 (The Virgin, the Sailor, and the Student, 1957); Quimera, wr. 1928, pb. 1938 (Chimera, 1944); El público, wr. 1930, pb. 1976 (fragment; The Audience, 1958); La zapatera prodigiosa, pr. 1930 (The Shoemaker's Prodigious Wife, 1941); Así que pasen cinco años, wr. 1931, pb. 1937 (When Five Years Pass, 1941); El amor de don Perlimplín con Belisa en su jardín, pr. 1933 (The Love of Don Perlimplín for Belisa in His Garden, 1941); Bodas de sangre, pr. 1933 (Blood Wedding, 1939); Yerma, pr. 1934 (English translation, 1941); Doña Rosita la soltera: O, El lenguaje de las flores, pr. 1935 (Doña Rosita the Spinster: Or, The Language of the Flowers, 1941); El retablillo de don Cristóbal, pr. 1935 (In the Frame of Don Cristóbal, 1944); La casa de Bernarda Alba, wr. 1936, pr., pb. 1945 (The House of Bernarda Alba, 1947). NONFICTION: Impresiones y paisajes, 1918. MISCELLANEOUS: Obras completas, 1938-1946 (8 volumes); Obras completas, 1954, 1960; Obras completas, 1973. Bibliography Gibson, Ian. Federico García Lorca. New York: Pantheon Books, 1989. A monumental biography which goes to the heart of García Lorca's genius with brilliant prose and telling anecdotes. Meticulously reconstructs the poet's periods in New York, Havana, and Buenos Aires. Vividly re-creates the café life of Spain in the 1930's and the artistic talents that were nurtured there. Evokes the landscapes of Granada, Almeria, Cuba, and Argentina celebrated in the poetry. Johnston, David. Federico García Lorca. Bath, England: Absolute, 1998. Johnston explains that García Lorca, rather than celebrating, is more concerned with deconstructing the essentials of Spain's culture of difference. He claims that the poet's most radical ultimate intention was the deconstruction of a civilization and the redefinition of the individual's right to be, not through the language of ethics or of the law, but in terms of a natural imperative. Morris, C. Brian. Son of Andalusia: The Lyrical Landscapes of Federico García Lorca. Nashville, Tenn.: Vanderbilt University Press, 1997. In six chapters and an epilogue, Morris identifies the presence of Andalusian legends, traditions, songs, and beliefs in García Lorca's life and works. Soufas, C. Christopher. Audience and Authority in the Modernist Theater of Federico García Lorca. Tuscaloosa: University of Alabama Press, 1996. A systematic study of all García Lorca's finished plays and provisional sketches presented in chronological order with attention to their effect on the viewing public. Relates Lorca's work to that of other avant-garde dramatists of the 1920's and 1930's. Stainton, Leslie. Lorca: A Dream of Life. New York: Farrar, Straus and Giroux, 1999. Stainton, an American scholar who lived in Spain for several years, writes of García Lorca's homosexuality, his left-wing political views, and his artistic convictions. Her detailed account is strictly chronological. García Lorca's work is described but not analyzed. Katherine Gyékényesi Gatto; |
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