Antonio Machado, a school teacher and philosopher and one of Spain's foremost poets of the twentieth century, writes of the mountains, the skies, the farms and the sentiments of his homeland clearly and without narcissism: "Just as before, I'm interested/in water held in;/ but now water in the living/rock of my chest." "Machado has vowed not to soar too much; he wants to 'go down to the hells' or stick to the ordinary," Robert Bly writes in his introduction. He brings to the ordinary—to time, to landscape and stony earth, to bean fields and cities, to events and dreams—magical sound that conveys order, penetrating sight and attention. "The poems written while we are awake&…are more original and more beautiful, and sometimes more wild than those made from dreams," Machado said. In the newspapers before and during the Spanish Civil War, he wrote of political and moral issues, and, in 1939, fled from Franco's army into the Pyrenees, dying in exile a month later. When in 1966 a bronze bust of Machado was to be unveiled in a town here he had taught school, thousands of people came in pilgrimage only to find the Civil Guard with clubs and submachine guns blocking their way. This selection of Machado's poetry, beautifully translated by Bly, begins with the Spanish master's first book, Times Alone, Passageways in the House, and Other Poems (1903), and follows his work to the poems published after his death: Poems from the Civil War (written during 1936 – 1939).

San Antonio Poet Laureate Carmen Tafolla captures her hometown — the city of her ancestors for the past three centuries — in poems that celebrate its history as a cosmopolitan multilingual cultural crossroads. Discover San Antonio’s corazón in Tafolla’s poetry, accompanied by historic and contemporary photographs that convey its enduring sense of place. The little river that has charmed so many rises at “the biological hub of the northern half of this hemisphere” (Dr. Karen Stothert) in a spring that Frederick Law Olmsted described as being “among the gems of the natural world.” A century ago, San Antonio gave Oscar Wilde “a thrill of strange pleasure.” J. Frank Dobie claimed that “every Texan has two hometowns — his own and San Antonio,” and Will Rogers declared it to be “one of the three unique cities of America.” To Larry McMurtry, “San Antonio has kept an ambiance that all the rest of our cities lack.” Carmen Tafolla calls forth the soul of this place — the holy home of the waters, called Yanaguana by los Indios — and celebrates the many cultures that have made of it “un rebozo bordado de culturas y colores.”

"Antonio Machado (1875-1939) was a member of Spain's famous "Generation of '98," and one of the great poets of the twentieth century. Intensely introspective and mediative, his poetry is grounded in the Spanish landscape and deeply influenced by his wife's early death, his own uprootedness, and the civil war and severe poverty which afflicted Spain."--BOOK JACKET.

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Antonio Machado (1875-1939) is one of Spain’s most original and renowned twentieth-century poets and thinkers. From his early poems in Soledades. Galerías. Otros poemas of 1907, to the writings of his alter-ego Juan de Mairena of the 1930s, Machado endeavoured to explain how the Other became a concern for the self. In The Poetics of Otherness in Antonio Machado’s “Proverbios y cantares,” Nicolás Fernández-Medina examines how Machado’s “Proverbios y cantares,” a collection of short, proverbial poems spanning from 1909 to 1937, reveal some of the poet’s deepest concerns regarding the self-Other relationship. To appreciate Machado’s organizing concept of otherness in the “Proverbios y cantares,” Fernández-Medina argues how it must be contextualized in relation to the underlying Romantic concerns that Machado struggled with throughout most of his oeuvre, such as autonomy, solipsism and skepticism of absolutes. In The Poetics of Otherness in Antonio Machado’s “Proverbios y cantares,” Fernández-Medina demonstrates how Machado continues a practice of “fragment thinking” to meld the poetic and the philosophical, the part and whole, and the finite and infinite to bring light to the complexities of the self-Other relationship and its relevance in discussions of social and ethical improvement in early twentieth-century Spain.

BOOK OF THE COLD is the long-overdue English translation of legendary Spanish poet Antonio Gamoneda's 1992 long poem--a surreal, folkloric, modernist masterpiece between poetry and prose. "When a younger generation of Spanish poets began to awaken and stretch their creative limbs at the dawn of a post-Franco era, what they found, intensified by decades of resistance and years of silence, was the beacon of Antonio Gamoneda's mature poetry. His evocative sensual palette--the scent, feel, taste, and sound of conflicted experience, a lurching between the repellent and the irresistible--is virtually without comparison. But the real miracle of his work is how he combines that flashy richness with such syntactical concision, and with a folkloric strangeness peculiar to his work alone. The extraordinary translation by Katherine Hedeen and Victor Rodríguez Nuñez maintains the compression of the Spanish by often allowing the agency carried by a Spanish verb to be absorbed completely into the English verb. So, for example, 'Fingía un rostro' becomes 'Faked a face.' And so in English, as in Spanish, the verb, not the subject, controls the sentence."--Forrest Gander "Antonio Gamoneda's BOOK OF THE COLD, a long poem in the modernist tradition, is an undisputed masterpiece by Spain's greatest living poet. In this sensitive and alert translation, Hedeen and Nuñez have captured the epic sweep of Gamoneda's distinctive cadences, halfway between prose and verse. This translation, long overdue, will reveal the full extent of Gamoneda's genius to English-speaking readers."--Jonathan Mayhew Poetry. Translation.

The Hermaphrodite's open celebration of vice, particularly sodomy, earned it public burnings, threats of excommunication, banishment to the closed sections of libraries, and a devoted following. Beccadelli combined the comic realism of Italian popular verse with the language of Martial to explore the underside of the early Renaissance.

Poems by a late Nicaraguan writer. In A Prayer for the United States, he wrote: "Apocalyptic blasts are ravaging over-sea. / With lure of flag and conquest the harlot War is wooing. / The horse John saw in Patmos its dread course is pursuing. / I pray the Lord He shelter the stars that shelter me."

This book offers a much needed reappraisal of a major twentieth-century Spanish poet, Antonio Machado (1875-1939), offering compelling arguments why his poetry should have a more vital profile not only within the precincts of Hispanism but also alongside the most significant twentieth-century poets of Europe and America, seeking to open up new perspectives for the interpretation of his poetry. The unifying concepts, as the title suggests, are landscape and transformation. Landscape, a topic barely broached in Spanish poetry before Machado, is a central thematic concern in his poetry.

With an insightful introduction by Thomas Moore, this volume presents the wisdom and philosophy of one of Spain's most important poets. Born in 1875, Machado, along with Juan Ramon Jimenez and Miquel de Unamuno, formed the famed "generation of 1898," which ushered in a new Spanish poetics. In this series of brief poems, Machado utilizes traditional Spanish verse forms to create a wide-ranging collection. "Machado, in these Sappho-like fragments, takes us down not only the road less traveled but the road not seen, where transformation and transfiguration come not from self-made millions but from changing 'love into theology'"--Thomas Rain Crowe