This fascinating literary work explores the influence of Andalusia's ancient culture and civilization on the works of Ernest Hemingway and Federico Garcia Lorca. Although born on two different continents, these artists both were rooted in the blood and sand of the bullring and the culture of death, which made life that much more rich. They were both poets, and both men were musicians as evidenced by the musicality of the rhythms of their work. This study explores the cultural and historical influence of Andalusia on the poetry of Federico García Lorca and the prose of Ernest Hemingway, particularly the effects of the region's culture of life and death in their writing. This aspect of Spanish tradition found its greatest voice in bullfighting (toreo), pure gypsy flamenco song, and the creative concept of duende. Even though Lorca and Hemingway were born worlds apart, their works are steeped in a civilization thousands of years old that was molded and shaped by numerous people groups, including the Phoenicians, Carthaginians, Greeks, Iberians, Romans, Vandals, Visigoths, Moors, Berber Muslims, and European Catholics. By examining the works of these two men immersed in the rich heritage of Andalusia as expressed during the early twentieth century, readers can more fully appreciate Hemingway's novel The Sun Also Rises and Lorca's poem Lament for Ignacio Sánchez Mejías. They are masterpieces-one of prose, the other of poetry-created by two great authors who influenced and changed the writing styles of those who followed them.

Wharton, Hemingway, and the Advent of Modernism is the first book to examine the connections linking two major American writers of the twentieth century, Edith Wharton and Ernest Hemingway. In twelve critical essays, accompanied by a foreword from Wharton scholar Laura Rattray and a critical introduction by volume editor Lisa Tyler, contributors reveal the writers’ overlapping contexts, interests, and aesthetic techniques. Thematic sections highlight modernist trends found in each author’s works. To begin, Peter Hays and Ellen Andrews Knodt argue for reading Wharton as a modernist writer, noting how her works feature characteristics that critics customarily credit to a younger generation of writers, including Hemingway. Since Wharton and Hemingway each volunteered for humanitarian medical service in World War I, then drew upon their experiences in subsequent literary works, Jennifer Haytock and Milena Radeva-Costello analyze their powerful perspectives on the cataclysmic conflict traditionally viewed as marking the advent of modernism in literature. In turn, Cecilia Macheski and Sirpa Salenius consider the authors’ passionate representations of Italy, informed by personal sojourns there, in which they observed its beautiful landscapes and culture, its liberating contrast with the United States, and its period of fascist politics. Linda Wagner-Martin, Lisa Tyler, and Anna Green focus on the complicated gender politics embedded in the works of Wharton and Hemingway, as evidenced in their ideas about female agency, sexual liberation, architecture, and modes of transportation. In the collection’s final section, Dustin Faulstick, Caroline Chamberlin Hellman, and Parley Ann Boswell address suggestive intertextualities between the two authors with respect to the biblical book of Ecclesiastes, their serialized publications in Scribner’s Magazine, and their affinities with the literary and cinematic tradition of noir. Together, the essays in this engaging collection prove that comparative studies of Wharton and Hemingway open new avenues for understanding the pivotal aesthetic and cultural movements central to the development of American literary modernism.

Federico García Lorca (1898–1936) is perhaps Spain’s most famous writer and cultural icon. By the age of thirty, he had become the most successful member of a brilliant generation of poets, winning critical and popular acclaim by fusing traditional and avant-garde themes and techniques. He would go on to reinvent Spanish theater too, writing bold, experimental, and often shocking plays that dared openly to explore both female and homosexual desire. A vibrant and mercurial personality, by the time Lorca visited Argentina in late 1933, he had become the most celebrated writer and cultural figure in the Spanish-speaking world. But Lorca’s fame could not survive politics: his identification with the splendor of the Second Spanish Republic (1931–36) was one of the reasons behind Lorca’s murder in August 1936 at the hands of right-wing insurgents at the start of the Spanish Civil War. In this biography, Stephen Roberts seeks out the roots of the man and his work in the places in which Lorca lived and died: the Granadan countryside where he spent his childhood; the Granada and Madrid of the 1910s, ’20s, and ’30s where he received his education and achieved success as a writer; his influential visits to Catalonia, New York, Cuba, and Argentina; and the mountains outside Granada where his body still lies in an undiscovered grave. What emerges is a fascinating portrait of a complex and brilliant man as well as new insight into the works that helped to make his name.

García Lorca at the Edge of Surrealism: The Aesthetics of Anguish examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings of Federico García Lorca (1898–1936). In contrast to the idealist and subconscious tenets espoused by surrealist leader André Breton, which focus on the marvelous, automatic creative processes, and sublimated depictions of reality, Lorca’s surrealist impulse follows a trajectory more in line with the theories of French intellectuals such as Georges Bataille (1897–1962), who was expelled from Breton’s authoritative group. Bataille critiques the lofty goals and ideals of Bretonian surrealism in the pages of the cultural and anthropological review Documents (1929–1930) in terms of a dissident surrealist ethno-poetics. This brand of the surreal underscores the prevalence of the bleak or darker aspects of reality: crisis, primitive sacrifice, the death drive, and the violent representation of existence portrayed through formless base matter such as blood, excrement, and fragmented bodies. The present study demonstrates that Bataille’s theoretical and poetic expositions, including those dealing with l’informe (the formless) and the somber emptiness of the void, engage the trauma and anxiety of surrealist expression in Spain, particularly with reference to the anguish, desire, and death that figure so prominently in Spanish texts of the 1920s and 1930s often qualified as “surrealist.” Drawing extensively on the theoretical, cultural, and poetic texts of the period, García Lorca at the Edge of Surrealism offers the first book-length consideration of Bataille’s thinking within the Spanish context, examined through the work of Lorca, a singular proponent of what is here referred to as a dissident Spanish surrealism. By reading Lorca’s “surrealist” texts (including Poetaen Nueva York,Viaje a la luna, and El público) through the Bataillean lens, this volume both amplifies our understanding of the poetry and drama of one of the most important Spanish writers of the twentieth century and expands our perspective of what surrealism in Spain means.

Federico García Lorca (1898–1936) had enormous impact on the generation of American poets who came of age during the cold war, from Robert Duncan and Allen Ginsberg to Robert Creeley and Jerome Rothenberg. In large numbers, these poets have not only translated his works, but written imitations, parodies, and pastiches—along with essays and critical reviews. Jonathan Mayhew’s Apocryphal Lorca is an exploration of the afterlife of this legendary Spanish writer in the poetic culture of the United States. The book examines how Lorca in English translation has become a specifically American poet, adapted to American cultural and ideological desiderata—one that bears little resemblance to the original corpus, or even to Lorca’s Spanish legacy. As Mayhew assesses Lorca’s considerable influence on the American literary scene of the latter half of the twentieth century, he uncovers fundamental truths about contemporary poetry, the uses and abuses of translation, and Lorca himself.

Opening up discussions of war, sexuality, personal angst, and national identity, The Sun also Rises symbolises modernism, both in theme and style. This volume contains critical essays on the novel by eminent Hemingway scholars.

In Lorca’s Legacy, Jonathan Mayhew explores multiple aspects of the creative and critical afterlife of Federico García Lorca, the most internationally recognized Spanish poet and playwright of the twentieth century. Lorca is an iconic and charismatic figure who has evoked the admiration and fascination of musicians, poets, painters, and playwrights across the world since his tragic assassination by right-wing forces in 1936, at the onset of the Spanish Civil War. This volume ranges widely, discussing his influence on American theater, his much-debated lecture on the duende, his delayed encounter with queer theory, his influence on contemporary Spanish poetry, and other relevant topics. The critical literature on Lorca is vast, and original contributions are comparatively rare, but Mayhew has found a way to shed fresh light on his legacy by looking with a critical eye at the creative transformations of his life and work, both in Spain and abroad. Lorca’s Legacy celebrates the wealth of material inspired by Lorca, bringing to bear a sophisticated, theoretically informed critical perspective. This book will be of enormous interest to anyone interested in the international projection of Spanish literature, or anyone who has felt the fascination of Lorca’s duende.

The Paris Wife was only the beginning of the story . . . A New York Times Book Review Editor's Choice A Richard & Judy UK Pick Paula McLain’s New York Times–bestselling novel piqued readers’ interest about Ernest Hemingway’s romantic life. But Hadley was only one of four women married, in turn, to the legendary writer. Just as T.C. Boyle’s bestseller The Women completed the picture begun by Nancy Horan’s Loving Frank, Naomi Wood’s Mrs. Hemingway tells the story of how it was to love, and be loved by, the most famous and dashing writer of his generation. Hadley, Pauline, Martha and Mary: each Mrs. Hemingway thought their love would last forever; each one was wrong. Told in four parts and based on real love letters and telegrams, Mrs. Hemingway reveals the explosive love triangles that wrecked each of Hemingway's marriages. Spanning 1920s bohemian Paris through 1960s Cold War America, populated with members of the fabled "Lost Generation," Mrs. Heminway is a riveting tale of passion, love, and heartbreak.

“An intriguing narrative of literary ambition and family dysfunction—betrayal, drug addiction, and madness—that begins during the Spanish Civil War.” —Amanda Vaill, The New York Times Book Review In this absorbing and atmospheric historical narrative, journalist Aaron Shulman takes us deeply into the circumstances surrounding the Spanish Civil War through the lives, loves, and poetry of the Paneros, Spain’s most compelling and eccentric family, whose lives intersected memorably with many of the most storied figures in the art, literature, and politics of the time—from Neruda to Salvador Dalí, from Ava Gardner to Pablo Picasso to Roberto Bolaño. Weaving memoir with cultural history and biography, and brought together with vivid storytelling and striking images, The Age of Disenchantments sheds new light on the romance and intellectual ferment of the era while revealing the profound and enduring devastation of the war, the Franco dictatorship, and the country’s transition to democracy. A searing tale of love and hatred, art and ambition, and freedom and oppression, The Age of Disenchantments is a chronicle of a family who modeled their lives (and deaths) on the works of art that most inspired and obsessed them and who, in turn, profoundly affected the culture and society around them. “A valuable primer on the ways literature intertwined with politics during Franco’s reign.” —Rigoberto González, Los Angeles Times “In this sweeping, ambitious debut, journalist Shulman offers a group biography of a family indelibly marked by the Spanish Civil War . . . Prodigiously researched and beautifully written.” —Publishers Weekly (starred review)