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While Cernuda's verse is vivid testimony to various aspects of his biographical itinerary, it is in his prose poems that he traces more explicitly an outline of his life's journey. Reviewing this work, Octavio Paz wrote: "In these memories and landscapes, in these notes toward the history of his sensibility, there is great objectivity; the poet doesn't set out to fantasize, or to lie to himself or anyone else. He attempts only to illuminate, with an almost impersonal light, something very personal: a few moments in his life. But is it truly ours, this life we live?" Luis Cernuda (1902–1963) was one of the leading poets of Spain's Generation of 1927, which included Federico Garcia Lorca, Rafael Alberti and Jorge Guillen.
The final poems of this important Spanish poet.
A study of the work of the Spanish poet Luis Cernuda (1902-1963). The works of the twentieth-century Spanish poet Luis Cernuda (1902-1963) are characterised by their fragmentary and disunified nature, with a wide range of complexities and contradictions. Concentrating on the well-known La realidad y el deseo, Dr McKinlay considers the poems from the perspective of the widespread loss of faith in God, exploring the tension between Cernuda's perception of chaos and desire for order, which co-exist in dialectical opposition. NEIL C. MCKINLAY is college lecturer in Spanish at New College, Oxford.
A new translation of Un río, un amor (One River, One Love) by Luis Cernuda (1902-1963). Written in France and Spain in 1928-1929, this collection reflects the influences, conflicts and impulses that governed the poet's life then and is faithful to the author's quasi-Surrealist intentions.
These illuminating essays generally follow the chronology of the twentieth-century Spanish poet Luis Cernuda's creative life, beginning with the poet's early surrealist collections and encompassing his last volume of verse, Desolacion de la quimera (The disconsolate chimera). The select bibliography includes all significant items of Cernuda criticism of the past forty years.
Poetry. LGBTQIA Studies. "Wray's poems are wry luxury items of intelligence, sheathed in the latent double of speech, where a word like family might mean, in the queer parlance, refuge, but also, refutation. This is an interrogative, primal, mythic collection, a poetry of privacy and disclosure, of contradiction, a disabused landscape under 'razor-wire stars.'"--Randall Mann "NO DOUBT I WILL RETURN A DIFFERENT MAN explores how complicated relationships between fathers and sons cast long shadows over the future self. In Wray's poems, eros shades at times uncomfortably into social violence and self-abnegation, making this book both love song and elegy to masculinity and its performances, to queerness, and to self-invention. Wray's sharp-eared lyrics move between the darkly campy and the sublime, proving that paternal elegies themselves are 'queer things' whose shifting modes allow him to investigate the limits of fatherhood itself."--Paisley Rekdal "Situated in the long posterity of one of the most infamously shattered queer lives, this tense excavation of Alan Turing, this careful and sumptuous overlay of men's secrecies and assignations seventy years apart, is fascinating. NO DOUBT I WILL RETURN A DIFFERENT MAN delves for origins, stirs encryption with erotics, and makes 'caught looking' palpable in its thrill and thrall."--Brian Blanchfield
The Spanish Civil War was idealized as a poet’s war. The thousands of poems written about the conflict are memorable evidence of poetry’s high cultural and political value in those historical conditions. After Franco’s victory and the repression that followed, numerous Republican exiles relied on the symbolic agency of poetry to uphold a sense of national identity. Exilic poems are often read as claim-making narratives that fit national literary history. This Ghostly Poetry critiques this conventional understanding of literary history by arguing that exilic poems invite readers to seek continuity with a traumatic past just as they prevent their narrative articulation. The book uses the figure of the ghost to address temporal challenges to historical continuity brought about by memory, tracing the discordant, disruptive ways in which memory is interwoven with history in poems written in exile. Taking a novel approach to cultural memory, This Ghostly Poetry engages with literature, history, and politics while exploring issues of voice, time, representation, and disciplinarity.