For the first time in a quarter century, a major new volume of translations of the beloved poetry of Federico García Lorca, presented in a beautiful bilingual edition The fluid and mesmeric lines of these new translations by the award-winning poet Sarah Arvio bring us closer than ever to the talismanic perfection of the great García Lorca. Poet in Spain invokes the "wild, innate, local surrealism" of the Spanish voice, in moonlit poems of love and death set among poplars, rivers, low hills, and high sierras. Arvio's ample and rhythmically rich offering includes, among other essential works, the folkloric yet modernist Gypsy Ballads, the plaintive flamenco Poem of the Cante Jondo, and the turbulent and beautiful Dark Love Sonnets--addressed to Lorca's homosexual lover--which Lorca was revising at the time of his brutal political murder by Fascist forces in the early days of the Spanish Civil War. Here, too, are several lyrics translated into English for the first time and the play Blood Wedding--also a great tragic poem. Arvio has created a fresh voice for Lorca in English, full of urgency, pathos, and lyricism--showing the poet's work has grown only more beautiful with the passage of time.

In Uniting Music and Poetry in Twentieth-Century Spain, Nelson R. Orringer uses both literary and musical analysis to study sung poems in twentieth-century Spain. In nine chapters, each focusing on an individual sung poem, song cycle, or various poems set by the same composer, Orringer enriches and deepens interpretations of the art-songs by comparing the poet's vision to the composer's. In examining composers such as Falla, Turina, Mompou, Toldrà, Rodrigo, Montsalvatge, and Rodolfo Halffter, Orringer shows that Spanish art-song is an exceptional product of Spain’s Silver Age and reveals a new way to understand and appreciate poems set to music in twentieth-century Spain.

In Rane Arroyo's poetry we hear echoes of Whitman, Lorca, Neruda. But more important, we hear Arroyo's own song of self rendered with a lyricism that belies its astonishing and redolent honesty. The Buried Sea: New and Selected Poems is a powerful addition to the American literary landscape. --Connie May Fowler.

The first Latin American to receive a Nobel Prize for Literature, the Chilean writer Gabriela Mistral (1889-1957) is often characterized as a healing, maternal voice who spoke on behalf of women, indigenous peoples, the disenfranchised, children, and the rural poor. She is that political poet and more: a poet of philosophical meditation, self-consciousness, and daring. This is a book full of surprises and paradoxes. The complexity and structural boldness of these prose-poems, especially the female-erotic prose pieces of her first book, make them an important moment in the history of literary modernism in a tradition that runs from Baudelaire, the North American moderns, and the South American postmodernistas. It's a book that will be eye-opening and informative to the general reader as well as to students of gender studies, cultural studies, literary history, and poetry. This Spanish-English bilingual volume gathers the most famous and representative prose writings of Gabriela Mistral, which have not been as readily available to English-only readers as her poetry. The pieces are grouped into four sections. "Fables, Elegies, and Things of the Earth" includes fifteen of Mistral's most accessible prose-poems. "Prose and Prose-Poems from Desolación / Desolation [1922]" presents all the prose from Mistral's first important book. "Lyrical Biographies" are Mistral's poetic meditations on Saint Francis and Sor Juana de la Cruz. "Literary Essays, Journalism, 'Messages'" collects pieces that reveal Mistral's opinions on a wide range of subjects, including the practice of teaching; the writers Alfonso Reyes, Alfonsina Storni, Rainer Maria Rilke, and Pablo Neruda; Mistral's own writing practices; and her social beliefs. Editor/translator Stephen Tapscott rounds out the volume with a chronology of Mistral's life and a brief introduction to her career and prose.

This book explores the representation of music in early modern Spanish literature and reveals how music was understood within the framework of the Harmony of the Spheres, emanating from cosmic harmony as directed by the creator. The Harmony of Spheres was not ideologically neutral but rather tied to the earthly power structures of the Church, Crown, and nobility. Music could be "true," taking the listener closer to the divine, or "false," leading the listener astray. As such, music was increasingly seen as a potent weapon to be wielded in service of earthly centers of power, which can be observed in works such as vihuela songbooks, the colonial chronicle of the Inca Garcilaso de la Vega, and in the palace theater of Pedro Calderón de la Barca. While music could be a powerful metaphor mapping onto ideological currents of imperial Spain, this volume shows that it also became a contested site where diverse stakeholders challenged the Harmonic Spheres of Influence. Music and Power in Early Modern Spain is a useful tool for upper-level undergraduates, postgraduates, and scholars interested in musicology, music history, Spanish literature, cultural studies, and transatlantic studies in the early modern period.

This work gives a unique opportunity to dive into the world of ancient British poetry and legends. Here, a reader will find the primary sources for the epic stories about Gilderoy, Winifred, Bryan, Sir Cauline, King Estmere, Sir Guy, King Arthur, the Fairy Queen, and many more. A collection in three volumes contains numerous works by famous and anonymous authors adapted to modern English. The significance of this work is apparent. It was the first collection of ballades in English poetry of this size. It influenced the Romantic movement greatly and contributed to the revivals of ballades in England. Robert Burns, Wordsworth, and Coleridge based their lyric poems on this collection. Although, this work could never see the light of the day. Back in the 18th century, Irish Bishop Thomas Percy saved a manuscript almost set afire by a housemaid. It was an ancient collection of ballades, which inspired the Bishop for further research. Today, it's not just an important historical book; it is also a great source of study materials as well as an exciting read for anyone fond of history and British poetry.

This anthology includes translations of a number of original poems from each of the ten collections of poetry published to date by Spanish poet Ana Maria Fagundo. Its goal is to provide a representative sample of Fagundo's work for an English audience. With the basic tenet of phenomenology as scaffold, the introduction of this anthology elucidates Fagundo's poetic writing as a process whereby the abstract is transformed into a concrete experience through the speaker's own self and body. From Brotes/Buds in 1965 until Trasterrado Marzo/March Beyond in 1999, Fagundo's poetry is an ongoing dialogue with the poetic word. Fagundo's poetic speaker looks into essences, but only in order to reintegrate them into existence. There is no Truth or Beauty or Good out there for which this poet strives, but a truth that each poet articulates in his or her own way. Hers is an aesthetic enterprise, which implies the ethical obligation to affirm life. Candelas Gala is Professor and Chair of the Department of Romance Languages at Wake Forest University.