2nd paragraph of kitsch chapter
My 2009 book, Apocryphal Lorca: Translation, Parody, Kitsch, partially addressed this problem, but without reaching a satisfactory conclusion. One reason for my incomplete treatment of this critical problem was my negative view of certain North-American manifestations of Lorquismo. The word kitsch, of course, bears an unavoidably derogatory charge, and my natural tendency in this study was to privilege American versions of Lorca that side-stepped groan-inducing stereotypes: I preferred the American Lorca before he became completely identified with a cartoonish version of the duende. It was also important for me to exercise my own aesthetic judgment in order to evaluate the degree to which US poets were able to engage with Spanish culture without reducing it to a caricature. What did not occur to me, however, was that kitsch (among other things) is the perfect name for a certain kind of commodification of modernist aesthetics in the postmodern period. In this sense the kitschiness of the American reception of Lorca is not only inevitable but also revelatory of the historical relation between modernism and posmodernism.