By Jonathan Mayhew
Federico García Lorca (1898–1936) had huge, immense impression at the new release 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 simple terms translated his works, yet written imitations, parodies, and pastiches—along with essays and demanding stories. 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 publication examines how Lorca in English translation has turn 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 huge impact at the American literary scene of the latter half the 20 th century, he uncovers primary truths approximately modern poetry, the makes use of and abuses of translation, and Lorca himself.
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Additional resources for Apocryphal Lorca: Translation, Parody, Kitsch
New York itself represented the height of North American capitalism and the urban culture of the Jazz Age. Lorca might have been a significant figure within American culture even without having written Poet in New York, but this book effectively closed the deal. 24 Ideas of cultural uniqueness and national destiny are themselves the product of nineteenth-century romanticism, and the most striking element in American Lorquismo is its unapologetically romantic enthusiasm. Lorca appeals to multiple constituencies: he is demotic, folkoric, primitive, and telluric.
S. literature and culture. What is sacrificed in the process, logically, is the Spanish cultural context of which Lorca formed a part. Their aim is not the scholarly one of understanding Lorca as he really is, or Lorca in the context of the larger Hispanic literary tradition. ” It might be surprising, to readers of American poetry, that the consensus among contemporary scholars is that Lorca was not a surrealist at all. The idea of a Hispanic or “Spanish surrealism” is a confusing and problematic one in the first place.
Nevertheless, the appeal of the “Black Lorca” to white poets cannot be discounted either, since African American experience was crucial to American self-definition of this period, in both popular and elite culture. Bebop became the preferred music of alienated white intellec tuals, and successive generations of white teenagers, beginning in the 1940s and continuing through the present, have adopted modes of speech and personal style with their origins in black culture: the hipsters of the 1940s and 1950s are the direct ancestors of the hippies of the late 1960s.