¡Bemsha SWING!

14 ene 2006

That Creeley poem "After Lorca" ... is not "after" any Lorca poem I recognize. It strikes me as very un-Lorca-like in any case. Yet there has got to be some identifiable source, if we believe his biographer Faas.

***

I downloaded "Tenor Madness" so Julia could practice her trumpet along with it. I had forgotten that that one has Rollins together with Coltrane, in sort of a dueling tenor thing, so I had a weird experience of listening to what I assumed was Rollins but playing typical "Coltranisms," phrases really very easily identifiable as carbon-copies of phrases he (Coltrane) plays on other records. I caught myself saying, "boy, I didn't realize Rolliins has absorbed THAT much Coltrane influence." But, of course, I felt very stupid when I heard the real Rollins start his own solo, with his own trademark phrasing. Of course, that's why it's called "Tenor Madness." Hearing the two of them trade phrases at the end is truly extraordinary.

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Common Sense dijo...: Perhaps it has ties with the way Spicer used Lorca: guess which one is mine--a return to the grave. A great book by Spicer (After Lorca)--"The dead are notoriously hard to satisfy."; 11:17 a. m.

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Blurbs & Reviews

"Jonathan Mayhew’s new work belongs to a certain class of surprising books: those so obviously necessary once they appear that it apparently required a stroke of genius to come up with the idea for them."

--Daniel Katz

"Jonathan Mayhew's Lorca is less the distinctive Spanish poet, whose murder in 1936 marked the beginning of the Civil War, than he is an American invention. From the 1940s to the end of the century, our poets have invoked Lorca-in translation, of course-as a Romantic, exotic, radical, and, in many cases, gay icon-the poet of mystery and the duende. The Lorca myth, Mayhew argues persuasively, has enriched American lyric, but it has also been an obstacle to a more adequately grounded understanding of Spanish poetry in the 20th century. Apocryphal Lorca is revisionist criticism at its most acute."

-Marjorie Perloff

"Enhanced by copious notes and an excellent bibliography, this book offers a perceptive, intriguing assessment of the Garcia Lorca created by the postwar generation of American poets." (Choice )

"Mayhew is a critic who is at the top of his game; he combines a breadth of knowlege of the field with acute analysis."

--John C. Wilcox, University of Illinois at Urbana-Champaign

"Let me just cut through all the usual, boring book review preliminaries and say the following thing: Jonathan Mayhew has, in Apocryphal Lorca, written an amazing book. "

--Brandon Holmquest, Calque

"The great merit of Mayhew's study is his sustained effort to document and interrogate Lorca's reception, unique among American encounters with foreign literatures in its nature and extent."

--Lawrence Venuti, TLS.

"Se trata de Jonathan Mayhew y su extraordinario estudio Apocryphal Lorca. Translation, Parody, Kitsch. Esta obra se ocupa no de García Lorca sino de cómo los escritores estadounidenses han reinventado a Lorca, desde Spicer y Rothenberg hasta O’Hara y Koch. Asimismo, es una discusión de la Deep Image —¡cuánto hay que desmenuzar de ese capítulo!— y la manera en que la poética norteamericana se ha apropiado de lo lorqueano (o lorcaesco) y del concepto de lo 'otro' que éste representa. Éste es un libro repleto de sutilezas, de tesis, apuntes, datos."

--Heriberto Yépez

"Apocryphal Lorca, sin embargo, es mucho más que un estudio de las vidas posteriores de Lorca en la poesía americana entre principios de los años 50 y 70. También ofrece un acercamiento histórico a la traducción de su obra, descubriendo reseñas de prensa significativas y discurriendo acerca de reconocimientos críticos. El texto es elegante y fresco; el análisis amplio e históricamente específico."

--María Delgado, Revista de Literatura

¡Bemsha SWING!

14 ene 2006

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