Impresiones y paisajes

Front Cover
Grupo Anaya Comercial, Dec 31, 1993 - Fiction - 301 pages
En los primeros días de abril de 1918 aparece en las librerías granadinas un libro titulado " Impresiones y paisajes " . Lo firma un semidesconocido aspirante a escritor: Federico García Lorca. Aunque no es la primera vez que ve su nombre en letras de imprenta, se trata de su primer libro. Un primer libro al que Federico se mostró toda su vida reacio a referirse y en el que, sin embargo, reside el mérito de ofrecer las claves, en positivo y en negativo, para interpretar lo que arte y escritura significaban y llegaron a significar para él. Después de este libro, Lorca utilizó la " prosa " , pero no volvió a escribir en " prosa " , pues era consciente de que esta forma de escritura literaria no le pertenecía como le pertenecían la forma lírica y la forma dramática.

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About the author (1993)

Garcia Lorca is perhaps the best known of modern Spanish writers, partly because of his brutal execution outside Granada by Franco's army at the beginning of the civil war, but primarily because of his genius for poetry and drama. In 1928 Lorca published Gypsy Ballads, which won him immediate success and is considered one of the most important volumes of poetry of the century. Attracted to the gypsies for their exotic folklore, sexual vitality, and their status as a group on the fringe of Spanish society, Lorca enlarged the gypsy people and their traditions to mythical proportions. Nature takes on human form while reality acquires a dreamlike quality in this powerful transformation of the world into a myth. The verse is colorful, rhythmic, dramatic, symbolic, and suggestive. Lorca visited New York in 1929, experiencing a deep despair about a mechanical and dehumanized society; he saw in blacks the only hope for revitalization of that world. The volume Poet in New York (1929) shows the influence of Negro spirituals and the poets Walt Whitman and T. S. Eliot. Although Garcia Lorca was interested in drama throughout his life, he did not produce much of significance until the 1930s. Most important is his trilogy of Spanish rural life, Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936), all tragedies with women as protagonists. In each play, the fall of the heroine, and of those around her whom she pulls down, is caused by frustrations produced by society. Blood Wedding demonstrates the sterility of the traditional code of honor. Yerma reveals the emptiness of a traditional marriage in which the woman must bear her husband children to prove her fidelity, and The House of Bernarda Alba dramatizes the destructive nature of Bernarda's dictatorial rule over her house, a microcosm of Spain. The Butterfly's Evil Spell (1919) is Lorca's first play; The Shoemaker's Prodigious Wife (1931) and Don Perlimplin (1931) are farces; The Billy-Club Puppets (1931) is a puppet play.

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