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The Importance of the Impossible

The Importance of the Impossible THE IMPORTANCE OF THE IMPOSSIBLE Mark Statman BOOK REVIEWED: Maria M. Delgado, Federico García Lorca. London and New York: Routledge, 2008. M aria M. Delgado’s Federico García Lorca is a book worthy of serious attention, not only for scholars of Lorca’s plays, but for scholars of Lorca in general, and it even serves as a valuable introduction for those coming to his vast work. Delgado claims “this study concentrates primarily on his dramatic output for which his poetry was, in the words of one critic, a ‘preparation.’” This judgment (Delgado is citing Edwin Honig) is a stance with which I strongly disagree; rather I would argue that it is Lorca’s sensibility as a poet that informs his plays. That is why so often the figure of the author/ poet makes an appearance in his work and Delgado herself often talks about the poetic nature of Lorca’s language. My objection aside, I think Delgado does much more with this volume than she herself suggests. By dividing the book into four major sections: Life, politics, and mythology; The ‘known’ Lorcas; The ‘unknown’ Lorcas; and Lorca’s afterlives, she presents the reader with a rather nuanced and compelling description not only of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Importance of the Impossible

PAJ: A Journal of Performance and Art , Volume 31 (2) – May 1, 2009

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Publisher
MIT Press
Copyright
© 2009 Mark Statman
Subject
Books & Company
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj.2009.31.2.111
Publisher site
See Article on Publisher Site

Abstract

THE IMPORTANCE OF THE IMPOSSIBLE Mark Statman BOOK REVIEWED: Maria M. Delgado, Federico García Lorca. London and New York: Routledge, 2008. M aria M. Delgado’s Federico García Lorca is a book worthy of serious attention, not only for scholars of Lorca’s plays, but for scholars of Lorca in general, and it even serves as a valuable introduction for those coming to his vast work. Delgado claims “this study concentrates primarily on his dramatic output for which his poetry was, in the words of one critic, a ‘preparation.’” This judgment (Delgado is citing Edwin Honig) is a stance with which I strongly disagree; rather I would argue that it is Lorca’s sensibility as a poet that informs his plays. That is why so often the figure of the author/ poet makes an appearance in his work and Delgado herself often talks about the poetic nature of Lorca’s language. My objection aside, I think Delgado does much more with this volume than she herself suggests. By dividing the book into four major sections: Life, politics, and mythology; The ‘known’ Lorcas; The ‘unknown’ Lorcas; and Lorca’s afterlives, she presents the reader with a rather nuanced and compelling description not only of

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2009

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