Federico García Lorca

"Let us agree," Federico Garcia Lorca wrote, "that one of man's most beautiful postures is that of St. Sebastian." "In my 'Saint Sebastian' I remember you," Salvador Dali replied to Garcia Lorca, referring to the essay on aesthetics that Dali had just written, "and sometimes I think he is you. Let's see whether Saint Sebastian turns out to be you." This lively and intense exchange is but a glimpse into the complex relationship between two renowned and highly influential twentieth-century artists. On the centennial of Dali's birth, Sebastian's Arrows presents a never-before-published collection of their letters, lectures, and mementos. Written between 1925 and 1936, the letters and lectures bring to life a passionate friendship marked by a thoughtful dialogue on aesthetics and the constant interaction between poetry and painting. From their student days in Madrid's Residencia de Estudiantes, where the two waged war against cultural "putrefaction" and mocked the sacred cows of Spanish art, Dali and Garcia Lorca exchanged thoughts on the act of creation, modernity, and the meaning of their art. The volume chronicles how in their poetic skirmishes they sharpened and shaped each other's work - Garcia Lorca defending his verses of absence and elegy and his love of tradition while Dali argued for his theories of "Clarity" and "Holy Objectivity" and the unsettling logic of Surrealism. Christopher Maurer's masterful prologue and selection of letters, texts, and images (many generously provided by the Fundacion Gala-Salvador Dali and the Fundacion Federico Garcia Lorca) offer compelling and intimate insights into the lives and work of two iconic artists. The two men had a "tragic, passionate relationship," Dali once wrote - a friendship pierced by the arrows of Saint Sebastian.

Although the life of Federico Garc a Lorca (1898-1936) was tragically brief, the Spanish poet and dramatist created an enduring body of work that remains internationally important. This selection of 55 poems from the 1921 collection Libro de poemas represents some of his finest work. Imbued with Andalusian folklore, rich in metaphor, and spiritually complex.

Selected verse from the poet who "expanded the scope of lyric poetry" (Rafael Campo, The Washington Post). The work of Federico Garc a Lorca, Spain's greatest modernist poet, has long been admired for its emotional intensity and metaphorical brilliance. The revised Selected Verse, which incorporates changes made to Garc a Lorca's Collected Poems, is an essential addition to any poetry lover's bookshelf. In this bilingual edition, Garc a Lorca's poetic range comes clearly into view, from the playful Suites and stylized evocations of Andalusia to the utter gravity and mystery of the final elegies, confirming his stature as one of the twentieth century's finest poets.

"In a remote Spanish village Yerma, a woman of full of life and passion, longs for a child but is unable to conceive. This compelling and elemental tale of a woman's quest for a child taps into some of the most universal themes of theatre - love, passion, sexuality, marriage. In this adaptation, Pam Gems has stripped the text to the poetic core of Lorca's words in all their epic glory. Vibrant and sweeping, combining elements of dance and song, Yerma is an exhilarating theatrical event. "

Spain's greatest twentieth-century poet and most influencial modernist speaks to a new generation of readers in this revised edition of his complete poetical works. Reprint.

'There has been no more terribly acute critic of America than this steel-conscious and death-conscious Spaniard, with his curious passion for the modernities of nickel and tinfoil and nitre . . .' So wrote Conrad Aiken of Lorca's violent response to the New York he encountered as a student at Columbia University in 1929 and 1930. Born and brought up in Andalusia, Lorca's reaction to the brutality and loneliness of the vast city was one of amazement and indignation. His poetry moved away from the lyricism of the early Romanceros and became a vehicle for experimental techniques through which he expressed tortured feelings of alienation and dislocation. Based on a new edition of the original text, Greg Simon's and Steven White's new translation brings to life Lorca's arresting imagery. Christopher Maurer, a leading authority on Lorca's work, provides an enlightening introduction placing Poet in New York in context, and there are translations of Lorca's letters as well as a lecture he gave about the work. Illustrated with archive photographs, this comprehensive volume will make Lorca's masterpiece available to a whole new generation of readers.

Spain's greatest and most well-loved modern poet, Lorca has long been admired for the emotional intensity and dark brilliance of his work, which drew on music, drama, mythology and the songs of his Andulucian childhood. From the playful Suites and stylized Gypsy Ballads, to his own dark vision of urban life, Poet in New York, and his elegaic meditation on death, Lament for Ignacio Sánchez Mejías; his range was remarkable. This bilingual edition provides versions by distinguished poets and translators, drawing on every book of poems published by Lorca and on his uncollected works.

In The House of Bernarda Alba, a tyrannical matriarch rules over her house and five daughters, cruelly crushing their hopes and needs. The other plays here also portray female characters whose desires are tragically and violently frustrated: a woman’s longing for a child in Yerma, and a bride’s yearning for her lover in Blood Wedding. All appeal for freedom and sexual and social equality, and are also passionate defences of the imagination: in Christopher Maurer’s words, ‘poetic drama unsurpassed by any writer of our time’.

García Lorca's drama about the shattering effects of emotional repression on a family of cloistered daughters, in a version by playwright Rona Munro for the critically acclaimed Shared Experience Theatre Company. When Bernarda's husband dies, she locks all the doors and windows. She tells her grown-up daughers to sew and be silent. 'There are eight years of mourning ahead of us. While it lasts not even the wind will get into this house.' But locks can't hold back the growing tide of desire... Rona Munro's version of The House of Bernarda Alba was first staged by Shared Experience Theatre Company at Salisbury Playhouse in March 1999 before a UK tour.

Blood Wedding by Federico García Lorca is a classic of Spanish literature, the tragedy of a woman loved by two men. The man she has loved since childhood is hot-blooded Leonardo, but his family are hated by her own folk, and he marries someone else. Then, on her wedding-night, Leonardo carries her off on horseback, pursued by the men of the two shamed families. The two rivals meet in the moonlight in a ?ght to the death… Lorca said the only hope for happiness lies in 'living one's instinctual life to the full'. And: 'To burn with desire and to remain silent is the greatest punishment we can in?ict on ourselves.' Blood Wedding explores the tragic intensity of lived, instinctual passion. For Brendan Kennelly, this involves a return to the very origins of drama: 'The pure pulsing sense of the mysterious nature of life before we learn to explain things almost out of existence … Blood Wedding is a drama of agonised and bewildering revelation.' Lorca has a searing realisation of the power of desire. Brendan Kennelly rises to the challenge of how to convey this in an English translation. In language at once soaring and accurate, wild and precise, he does justice to Lorca's tragic vision of the nature and consequences of lived desire. His version of Blood Wedding reveals the mysterious, intricate, passionate and truly astonishing nature of Lorca’s masterpiece. Brendan Kennelly's versions of Euripides' The Trojan Women and Medea, and Sophocles' Antigone, are published by Bloodaxe Books in his drama trilogy When Then Is Now: Three Greek Tragedies (2006). His version of Lorca's Blood Wedding was premièred by Northern Stage in Newcastle and Derby in autumn 1996. His Antigone and The Trojan Women were both first performed at the Peacock Theatre, Dublin, in 1986 and 1993 respectively; Medea premièred in the Dublin Theatre Festival in 1988, toured in England in 1989 and was broadcast by BBC Radio 3.

Lorca's Blood Wedding is a classic of twentieth-century theatre. The story is based on a newspaper fragment which told of a family vendetta and a bride who ran away with the son of the enemy family. Lorca uses it to investigate the subjects which fascinated him: desire, repression, ritual, and the constraints and commitments of the rural Spanish community in which the play is rooted. Ted Hughes's version stays close in spirit and letter to the original Spanish. With marvellous directness, he fused Lorca's vision to his own, and the result is a powerful poetic text which captures all the violence and pathos of the play for an English-speaking audience.

Perhaps the most famous book of poetry written in Spanish in the 20th century, this volume masterfully conveys the richness of Lorca's native Andalusia.

"Lorca is one of the few indisputably great dramatists of the twentieth century" Observer Mariana Pineda achieved immediate critical success on its first performance in Barcelona in 1927. The Public is a powerful and uncompromising demand for sexual, and specifically homosexual, freedom - as predicted it was never performed in Lorca's time - it was first performed in this country by Theatre Royal Stratford East in the 80s. Play Without a Title, an unfinished Lorca rarity, realises his wish 'to do something different, including modern plays on the age we live in'.

The second of Lorca's trilogy of rural dramas, Yerma, is a blend of contrasting moods through which Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires. The play's rich mode of expression - a combination of verbal, visual and auditory images and rhythms - is also geared to celebrating sexual attraction and fertility, creation and procreation. Through his characterization of the play's central figure, Lorca raises the question of women's social status - a controversial question both then and now, and one to which Robin Warner pays particular attention in his critical introduction to the play. He also examines the links between the dramatic structure of Yerma and the importance of cultural politics during the course of the Second Spanish Republic. The Spanish text is supported by an introduction and notes in English, as well as by an extensive vocabulary and section of discussion questions.

Newly repackaged, three plays by Federico Garc a Lorca In these three plays, Federico Garc a Lorca's acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry--or poetic drama--depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The results, both performable and readable, have been thoroughly revised for this edition, which has an introduction by Christopher Maurer, the general editor of the Complete Poetical Works of Garc a Lorca.