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Lorca's Poet in New York

Lorca's Poet in New York: The Fall into Consciousness

Betty Jean Craige
Copyright Date: 1977
Pages: 112
https://www.jstor.org/stable/j.ctt130jf3d
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  • Book Info
    Lorca's Poet in New York
    Book Description:

    Written in 1929--1930, when Federico García Lorca was visiting Columbia University,Poet in New Yorkstands as one of the great Waste Land poems of the 20th century. It expresses, as Betty Jean Craige writes in this volume,"a sudden radical estrangement of the poet from his universe" -- an an estrangement graphically delineated in the dissonant, violent imagery which the poet derives from the technological world of New York.

    Craige here describes -- through close analysis of the structure, style, and themes of individual works inPoet in New York-- the chaos into which this world plunges the poet, and the process whereby he is able, gradually, to recover his identity with the regenerative forces of nature. Her study demonstrates that, though seemingly unique in form and motifs,Poet in New Yorkis integral with Lorca's overall poetic achievement.

    eISBN: 978-0-8131-6256-0
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Acknowledgments
    (pp. ix-x)
  4. Chapter One Introduction
    (pp. 1-4)

    In the early decades of the twentieth century Western Europe and the United States experienced an explosion of creativity in the art world: Picasso’sLes demoiselles d’ Avignonappeared in 1907; Stravinsky’sRite of Springand Duchamp’sNude Descending a Staircase,in 1913; Joyce’sUlyssesand Eliot’sThe Waste Land,in 1922; Kaflca’sThe TrialandThe Castle,in 1925 and 1926; and Faulkner’sThe Sound and the Fury,in 1929. The twenties saw the rage of surrealism, with the issue of Breton’sFirst Manifestoin 1924 and the publication of the journalLa Revolution Surréaliste.And in 1929 and...

  5. Chapter Two Poet in New York and Lorca’s Earlier Poetry
    (pp. 5-31)

    The tasting of the fruit of the Tree of Knowledge and the fall into consciousness put Adam and Eve outside the gates of the Garden to wander lost and alone, made ever restless by the memory of the Garden’s harmony. It is this memory in man’s now inescapable consciousness that impels the human search for a paradise, that brings the knowledge of absence and death, that finally makes possible the rare mystical union with God or with nature—the perishable bliss. As absence and death bring into being the poet, so the awareness of separation from God or nature brings...

  6. Chapter Three The Fall into Consciousness
    (pp. 32-46)

    When Adam and Eve had eaten of the Tree of Knowledge of good and evil they saw that they were naked and they were ashamed. So they covered themselves with fig leaves. Thus were they separated from nature, from God, and hurled into the isolation of self-consciousness. Now they are “as gods, knowing good and evil.” This act is the fall into consciousness by which man gains awareness of himself and loses harmony with nature. Man’s vision turns the world, self, and God into objects of perception, and his subjectivity engulfs the universe. By recognizing no god, no absolute, existing...

  7. Chapter Four Poet in New York: The Vision
    (pp. 47-83)

    “Ritual,” says Northrop Frye, “seems to be something of a voluntary effort ... to recapture a lost rapport with the natural cycle.”¹ And it is ritual that has somehow been eliminated from the New York world Lorca sees which no longer even puts forth the “effort ... to recapture a lost rapport with the natural cycle,” to imitate the natural rhythms of the universe. As human vitality has vanished, so have real anguish, pain, and death disappeared from this unnatural world of “hollow men.” What is needed is a violent cataclysmic upheaval by which this civilization may confront the forces...

  8. Chapter Five Conclusion
    (pp. 84-86)

    Federico García Lorca’sPoet in New Yorkattracted attention when published in the early 1940s as a strange, impenetrable work, apparently surrealist in origin, which seemed to represent a rejection of the traditional style of his earlier poetry and an embarkation upon a new experiment in poetic creation. The “experiment” was regarded by many as a failure: the poetry somehow did not measure up to the greatness of eitherLibra de poemasor the laterDiván del Tamarit.Our examination of the imagery of Poet in New York has shown that its poetic process is not essentially different from that...

  9. Notes
    (pp. 87-92)
  10. Bibliography
    (pp. 93-94)
  11. Index
    (pp. 95-96)