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Destruction or Love is the first complete English translation of one of the major works by Spanish Nobel Laureate Vicente Aleixandre. It conveys to English readers some of the syntactic inventiveness and suggestive imagery of the original, which became a landmark of twentieth-century European literature. Illustrated.
Begun in 1939, barely four months after the close of the Spanish Civil War, these poems by the Nobel Laureate poet Vicente Aleixandre were written during a period of hardship and despair. In spite of his surroundings Aleixandre created the splendor of the shadow of a lost paradise that consisted of memory, nostalgia, yearning and illusion. This is the first full English version. The original Spanish text is included.
These include surrealism and the seminal role of Freud, narrative structure, genre, and lyric ancestors such as Fray Luis de Leon, Gustavo Adolfo Becquer, and Ruben Dario."--BOOK JACKET.
García Lorca at the Edge of Surrealism: The Aesthetics of Anguish examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings of Federico García Lorca (1898–1936). In contrast to the idealist and subconscious tenets espoused by surrealist leader André Breton, which focus on the marvelous, automatic creative processes, and sublimated depictions of reality, Lorca’s surrealist impulse follows a trajectory more in line with the theories of French intellectuals such as Georges Bataille (1897–1962), who was expelled from Breton’s authoritative group. Bataille critiques the lofty goals and ideals of Bretonian surrealism in the pages of the cultural and anthropological review Documents (1929–1930) in terms of a dissident surrealist ethno-poetics. This brand of the surreal underscores the prevalence of the bleak or darker aspects of reality: crisis, primitive sacrifice, the death drive, and the violent representation of existence portrayed through formless base matter such as blood, excrement, and fragmented bodies. The present study demonstrates that Bataille’s theoretical and poetic expositions, including those dealing with l’informe (the formless) and the somber emptiness of the void, engage the trauma and anxiety of surrealist expression in Spain, particularly with reference to the anguish, desire, and death that figure so prominently in Spanish texts of the 1920s and 1930s often qualified as “surrealist.” Drawing extensively on the theoretical, cultural, and poetic texts of the period, García Lorca at the Edge of Surrealism offers the first book-length consideration of Bataille’s thinking within the Spanish context, examined through the work of Lorca, a singular proponent of what is here referred to as a dissident Spanish surrealism. By reading Lorca’s “surrealist” texts (including Poetaen Nueva York,Viaje a la luna, and El público) through the Bataillean lens, this volume both amplifies our understanding of the poetry and drama of one of the most important Spanish writers of the twentieth century and expands our perspective of what surrealism in Spain means.