, 209; Buñuel,
Mi último suspiro
, 102–3; Buñuel,
Obra literaria
, 40; and Sánchez Vidal,
Buñuel, Lorca, Dalí
, 183–89.
“complete”:
Buñuel,
Mi último suspiro
, 102–3.
“stupendous screenplay” and “Dalí and I are closer”:
Luis Buñuel to Pepín Bello (February 10, 1929), in Santos Torroella,
Dalí residente
, 218.
FGL and Aladrén separate:
Martínez Nadal,
Cuatro lecciones
, 32–33; Peñón, 186;
G, I
, 594.
Cipriano Rivas Cherif, background:
Enrique de Rivas Ibáñez, introduction to Cipriano Rivas Cherif,
Retrato de un desconocido. Vida de Manuel Azaña
, ed. Enrique de Rivas
Ibáñez (Barcelona: Grijalbo, 1980); Josep Pla,
Madrid—El advenimiento de la República
(Madrid: Alianza, 1986), 24; Antonina Rodrigo,
Margarita Xirgu y su teatro
, 167; Cipriano Rivas Cherif,
Heraldo de Madrid
, August 7, 1926, 4; Cipriano Rivas Cherif, “El teatro de la Escuela Nueva,”
La Pluma
(Madrid), April 1921, 236–44; and “Conferencia de Cipriano Rivas Cherif,”
Defensor de Granada
, April 7, 1929, 3.
FGL attends rehearsals for
Don Perlimplín:
Margarita Ucelay, “Amor de don Perlimplín con Belisa en su jardín, de Federico García Lorca. Notas para la historia de una obra: textos, ediciones, fragmentos inéditos,” in
Essays on Hispanic Literature in Honour of Edmund L. King
(London: Tamesis, 1983), 233–39.
Don Perlimplín:
All quotations are taken from OC, II, 238–64; see also FM, 314–20; Fernández Cifuentes, 117; Miguel García-Posada, introduction to FGL,
Teatro
I (Madrid: Akal, 1980), 52; Ucelay, “De las aleluyas de Don Perlimplín a la obra de Federico García Lorca,” in
Federico García Lorca. Saggi critici nel cinquantenario della morte
, ed. Gabriele Morelli (Fasano: Schena, 1988), 96–104; and J. G. Cummins, ed.,
The Spanish Traditional Lyric
(Oxford: Pergamon, 1977).
“human puppet play,” “grotesque tragedy,” “anti-hero,” and “lot of fun”:
“Un estreno de García Lorca en el Español en gran función de gala,”
Heraldo de Madrid
, April 4, 1933, in
OC
, III, 406.
Don Perlimplín
cancelled:
G, I
, 591; Río, “Federico García Lorca,” 203;
FM
, 313; Rivas Cherif, January 27, 1957.
“And this”:
G,
II
, 383.
“This is a mockery!”:
Río, “Federico García Lorca,” 203.
FGL signs open letter:
José Ortega y Gasset,
Obras completas
XI (Madrid: Ediciones de la Revista de Occidente, 1969), 102–6; EC, 607–10.
“piece of shit” and “Buñuel’s made a shit of a film”:
Buñuel,
Mi último suspiro
, 101, 154.
Dalí refrains from publishing FGL letter:
L’Amic de les Arts
(Sitges), March 31, 1929; Sebastian Gasch,
L’Expansió de l’art catala al mon
(Barcelona: Edición privada, 1953), 154.
Dalí meets Gala Eluard:
Salvador Dalí escribe a Federico García Lorca
, 154;
G, I
, 589; José María Moreiro, “Dalí en el centro de los recuerdos [Entrevistas con Ana María Dalí, Pepín Bello, Cristino Malloy y Rafael Sánchez Ventura],”
El País
Semanal, October 23, 1983, 19, 21; Buñuel,
Mi último suspiro
, 179.
Dalí joins surrealists:
Rodrigo,
Lorca-Dalí
, 217; Ana María Dalí, 136–39.
“He’s a disgrace”:
Salvador Dalí escribe a Federico García Lorca
, 95.
“a self-destructive rage … from everything”:
Salvador Dalí, with André Parinaud, 81.
“As the authentic poet”:
OC,
III
, 104.
FGL meets Carlos Morla Lynch:
Auclair, 162; Morla Lynch, 22–29; author interview with Veronica Morla.
Carlos and Bebé Morla Lynch, background:
Morla Lynch, 312; Auclair, 164–65; Martínez Nadal,
Federico García Lorca. Mi penúltimo libro, 66;
Escobar; author interview with Veronica Morla.
“very seductive”:
Jorge Guillén to Germaine Guillén (August 3, 1934), papers of Jorge Guillén, Wellesley College Archive.
“He comes and goes”:
Morla Lynch, 28–35.
“Even if” and “always that deep obsession”:
Morla Lynch, 44.
FGL and Morla Lynch discuss sorrow:
Morla Lynch, 39–40. Information on the death of Colomba Morla Lynch is drawn from Auclair, 167; “Colomba Morla Vicuña,”
El Impartial
(Chile), August 1928, Veronica Morla Archive; author interview with Veronica Morla.
“used to get angry”:
Altolaguirre,
Obras completas
I, 287–88.
“I’m an aesthetic … anarchic Catholic”:
Altolaguirre,
Obras completas
I, 214; Santiago Ontañón, quoted in “Federico García Lorca,”
La Clave
160, Spanish Television, June 21, 1980.
“with photographs”:
Revista de Occidente
XXII, LXVI (October-December 1928), 294.
“decorative bad taste” and “grandeur”:
Jorge Guillén to Germaine Guillén (November 14, 1928), papers of Jorge Guillén, Wellesley College Archive.
“Ode to the Most Holy Sacrament”:
All passages from this poem are taken from OC, I, 463–69, translated in FGL,
Collected Poems
, 598–609.
“surrealistic things … but false ones” and “a stinking ode”:
Buñuel,
Obra literaria
, 36.
“tormented by God … concerns”:
Fabienne Badu,
Antonieta
, 1900–1931 (Mexico: Fondo de Cultura Económica, 1991).
“Were I to write … rest of the poem”:
FM
, 155, trans. GM, 127–28.
“Gold, frankincense, and myrrh”:
See Maurer, Notes to FGL,
Collected Poems
, 836.
FGL marches in Holy Week procession:
José Martín Campos, “Federico García Lorca fue cofrade activo de Santa María de la Alhambra de Granada,”
Ideal
(Granada), May 17, 1972.
FGL battles cold and “I’m not to blame … spiritual rest”:
FGL to parents (April 1929), AFFGL.