"The Diary is an innovative and complex work of both prose and poetry. It stands among the first works of prose in the Spanish language to capture the images and urban landscapes of New York City, revealing as well surprising degrees of modernity and social sensitivity. It is equally innovative in its cultivation of free verse, and historically important for introducing, for the first time in Spanish literature, a new mode of poetic composition."--Jacket.

A newly revised edition of the insightful poetic cycle by one of the key figures of modern literature Written while Federico García Lorca was a student at Columbia University in 1929–30, Poet in New York is one of the most important books he produced, and certainly one of the most important books ever published about New York City. Indeed, it is a book that changed the direction of poetry in both Spain and the Americas, a pathbreaking and defining work of modern literature. Timed to coincide with the citywide celebration of García Lorca in New York planned for 2013, this edition, which has been revised once again by the renowned García Lorca scholar Christopher Maurer, includes thrilling material—new photographs, new and emended letters—that has only recently come to light. Complementing these additions are García Lorca's witty and insightful letters to his family describing his feelings about America and his temporary home there (a dorm room in Columbia's John Jay Hall), the annotated photographs that accompany those letters, a prose poem, extensive notes, and an interpretive lecture by García Lorca himself. An excellent introduction to the work of a key figure of modern poetry, this bilingual edition of Poet in New York, a strange, timeless, vital book of verse, is also an exposition of the American city in the twentieth century.

The Facts On File Companion to World Poetry : 1900 to the Present is a comprehensive introduction to 20th and 21st-century world poets and their most famous, most distinctive, and most influential poems.

The Spanish poet Juan Ramón Jiménez (1881–1958; Nobel laureate 1956) wrote at a key moment in literary history. Since Jiménez’s lyrical output covers the poetic tradition from Romanticism through Symbolism to the Avant-Gardes, his work can be regarded as a condensation of the modern paradigm. Julio Jensen investigates the lyrical subject appearing in Jiménez’s poetry as exemplary of the notion of modern subjectivity. He does so by assuming a historical correlation between literature and philosophy in the sense that if philosophical discourse conceptualizes the prevailing understanding of the human being at a given moment, literary discourse represents it. Modern thought does not accept any other foundation than subjectivity. At the same time, the awareness of the subject’s finitude engenders pessimism with respect to its status as world-generating principle. One of the primary aims of this study, then, is to show how Jiménez poignantly enacts this vacillation between self-enthronement and self-eradication. With insightful readings of Jiménez’s poetry, the author opens a rich vein in the work of a writer who would serve as a central reference for later Spanish-language poets such as Federico Garcá Lorca, Pablo Neruda and Octavio Paz.

A Guardian Best Book of the Year Finalist for the T. S. Eliot Prize and The Costa Poetry Award “Exquisite.” —The New York Times Book Review “Brave, tender and generous. . . . A haunting study of what we can find in the silences of history when history is recognized as more than a noun, when recognized as something alive and kinetic.” —Camonghne Felix, author of Build Yourself a Boat On the heels of his much-lauded debut collection, Raymond Antrobus continues his essential investigation into language, miscommunication, place, and memory in All The Names Given, while simultaneously breaking new ground in both form and content. The collection opens with poems about the author’s surname—one that shouldn’t have survived into modernity—and examines the rich and fraught history carried within it. As Antrobus outlines a childhood caught between intimacy and brutality, sound and silence, and conflicting racial and cultural identities, the poem becomes a space in which the poet reckons with his own ancestry, and bears witness to the indelible violence of the legacy wrought by colonialism. The poems travel through space—shifting fluidly between England, South Africa, Jamaica, and the American South—and brilliantly move from an examination of family history into the wandering lust of adolescence and finally, vividly, into a complex array of marriage poems—matured, wiser, and more accepting of love’s fragility. Throughout, All The Names Given is punctuated with [Caption Poems] partially inspired by Deaf sound artist Christine Sun Kim, in which the art of writing captions attempts to fill in the silences and transitions between the poems as well as moments inside and outside of them. Formally sophisticated, with a weighty perception and startling directness, All The Names Given is a timely, tender book full of humanity and remembrance from one of the most important young poets of our generation.

The Spanish-American War of 1898 seems to mark a turning point in both geopolitical and literary histories. The victorious American empire ascended and began its cultural domination of the globe in the twentieth century, while the once-mighty Spanish empire declined and became a minor state in the world republic of letters. But what if this narrative relies on several faulty assumptions, and what if key modernist figures in both America and Spain radically rewrote these histories at a foundational moment of modern literary studies? Following networks of American and Spanish writers, translators, and movements, Gayle Rogers uncovers the arguments that forged the politics and aesthetics of modernism. He revisits the role of empire—from its institutions to its cognitive effects—in shaping a nation's literature and culture. Ranging from universities to comparative practices, from Ezra Pound's failed ambitions as a Hispanist to Juan Ramón Jiménez's multilingual maps of modernismo, Rogers illuminates modernists' profound engagements with the formative dynamics of exceptionalist American and Spanish literary studies. He reads the provocative, often counterintuitive arguments of John Dos Passos, who held that "American literature" could only flourish if the expanding U.S. empire collapsed like Spain's did. And he also details both a controversial theorization of a Harlem–Havana–Madrid nexus for black modernist writing and Ernest Hemingway's unorthodox development of a version of cubist Spanglish in For Whom the Bell Tolls. Bringing together revisionary literary historiography and rich textual analyses, Rogers offers a striking account of why foreign literatures mattered so much to two dramatically changing countries at a pivotal moment in history.

Containing roughly 850 entries about Spanish-language literature throughout the world, this expansive work provides coverage of the varied countries, ethnicities, time periods, literary movements, and genres of these writings. Providing a thorough introduction to Spanish-language literature worldwide and across time is a tall order. However, World Literature in Spanish: An Encyclopedia contains roughly 850 entries on both major and minor authors, themes, genres, and topics of Spanish literature from the Middle Ages to the present day, affording an amazingly comprehensive reference collection in a single work. This encyclopedia describes the growing diversity within national borders, the increasing interdependence among nations, and the myriad impacts of Spanish literature across the globe. All countries that produce literature in Spanish in Europe, Africa, the Americas, and Asia are represented, covering both canonical authors and emerging contemporary writers and trends. Underrepresented writings—such as texts by women writers, queer and Afro-Hispanic texts, children's literature, and works on relevant but less studied topics such as sports and nationalism—also appear. While writings throughout the centuries are covered, those of the 20th and 21st centuries receive special consideration.