Lament For The Death Of A Bullfighter And Other Poems In The Original Spanish

This volume contains the last long poem Lorca wrote, plus five other long poems. The introduction illuminates the two conflicting trends--Europeanization (the intellectual spirit and formal rhetoric) and Africanization (popular song and oral tradition) in modern Spain's greatest poet.

A. L. Lloyd was nothing if not versatile, ethnomusicologist, journalist, radio and television broadcaster, and translator. It is as the author of Folk Song in England, also reissued in Faber Finds, that he is best known, but, in this his centenary year (2008) Faber Finds is also celebrating him as a translator. 1937 was A. L. Lloyd's "annus mirabilis" as a translator. In it he published both his translations of Lorca - Lament for the Death of a Bullfighter - and Kafka's Metamorphosis. There aren't many who can translate with equal facility from Spanish and German. Not only did A. L. Lloyd do that, his translations were both firsts, the first translation of Lorca into English and the first English translation of Kafka's most famous story. On first publication A. L. Lloyd's Lorca translation was widely praised with V. S. Pritchett especially commending it in "The New Statesman."

A revised edition of this major writer's complete poetical work And I who was walking with the earth at my waist, saw two snowy eagles and a naked girl. The one was the other and the girl was neither. -from "Qasida of the Dark Doves" Federico García Lorca was the most beloved poet of twentieth-century Spain and one of the world's most influential modernist writers. His work has long been admired for its passionate urgency and haunting evocation of sorrow and loss. Perhaps more persistently than any writer of his time, he sought to understand and accommodate the numinous sources of his inspiration. Though he died at age thirty-eight, he left behind a generous body of poetry, drama, musical arrangements, and drawings, which continue to surprise and inspire. Christopher Maurer, a leading García Lorca scholar and editor, has brought together new and substantially revised translations by twelve poets and translators, placed side by side with the Spanish originals. The seminal volume Poet in New York is also included here in its entirety. This is the most comprehensive collection in English of a poet who—as Maurer writes in his illuminating introduction—"spoke unforgettably of all that most interests us: the otherness of nature, the demons of personal identity and artistic creation, sex, childhood, and death."

Selected verse from the poet who "expanded the scope of lyric poetry" (Rafael Campo, The Washington Post). The work of Federico García 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 García Lorca's Collected Poems, is an essential addition to any poetry lover's bookshelf. In this bilingual edition, García 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.

For much of the mid-twentieth century, Roberto Gerhard found himself an outsider. He was airbrushed from much writing on contemporary music in Spain during the Franco regime, and was known in England more for his ‘commercial’ music for theatre, film and radio than his concert works. However, his significance as a musical innovator in developing serial technique and in the field of electro-acoustics is now being gradually recognised in both Spain and England, as well as further afield. The volume explores an extensive range of Gerhard’s work from the early Wind Quintet and the Spanish ballets Pandora and Don Quixote with their overt political overtones, through to the late period Metamorphoses and a newly discovered chance-based composition Claustophilia written in response to a request by John Cage for his book Notations. One of the key themes presented throughout the book is Gerhard’s innovative use of serialism. Gerhard’s development of Schoenberg’s technique led him to explore the serialization of both pitch and time. This volume suggests evidence for the first time that situates Gerhard’s idiosyncratic experiments alongside rather than after the total serialist works of his European counterparts Pierre Boulez, Olivier Messiaen and Karlheinz Stockhausen.