Luis Cernuda: One River, One Love

BookLuis Cernuda: One River, One Love

Luis Cernuda: One River, One Love

Aris & Phillips Hispanic Classics

2015

December 31st, 2015

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Philip G Johnston's new translation of Un rio, un amor (One River, One Love) by Luis Cernuda (1902-1963) is faithful to the author's quasi-Surrealist intentions. Written in France and Spain in 1928-1929, this collection reflects the influences, conflicts and impulses that governed the poet's life then. It speaks of the alienation of a marginalised, disaffected individual in a Spain which he described as "decrepit and decomposing", of a shy homosexual gradually and painfully coming to terms with his orientation in a rigid, hostile society, of a passion for American popular culture (Jazz, Blues and cinema), filtered through a Hispanic sensitivity, and eventually somewhat tempered by the disappointments of daily life. The collection's later poems see Cernuda finding an admirable and resonant voice of protest. Very much a part of the broad European Modernist ethos (Cernuda can justifiably be compared to, say, T S Eliot), One River, One Love is furthermore written in the spirit of Spain's famous Generation of 1927 (spearheaded by figures such as Dali, Lorca and Bunuel) which set about reacting to "what had already been said", seeking the radical reform of the Spanish aesthetic and, in doing so, created a second Spanish Golden Age. Intriguingly balanced between what Cernuda himself would later term "Reality and Desire", this collection also involves a significant flirtation with the conventions of Surrealism. Lautreamont's famous formula involving the sewing machine, the umbrella and the dissection table is most certainly nodded to here in the characteristic Cernudian harnessing of shocking, incongruous and unexpected elements in imagery. That flirtation, however, stops short of full consummation of the relationship (Cernuda never, for example, gives himself completely over to unfettered, automatic writing, or, "dictee de la pensee") -which fact in itself speaks of a peculiarly Spanish twist to the European avant-garde.

Author Information

Philip G. Johnston is Senior Lecturer in Spanish in the School of Languages and Literatures at University College Dublin. He is the author of an edition of In the Burning Darkness by Antonio Buero-Vallejo in this series, and also a major study of the poet Antonio Machado.

Table of Contents

Table of Contents
Section TitlePagePrice
Cover1
Title Page2
Copyright Page3
Contents6
Translator’s Note8
Introduction10
Select Bibliography16
Un río, un amor / One River, One Love18
Remordimiento en traje de noche / Remorse in a Dinner Jacket19
Quisiera estar solo en el sur / I Want to be Alone in the South21
Sombras blancas / White Shadows23
Cuerpo en pena / Body in Pain25
Destierro / Exile29
Nevada / Nevada31
Como el viento / Like the Wind33
Decidme anoche / Tell Me Last Night35
Oscuridad completa / Total Darkness39
Habitación de al lado / The Room Next Door41
Estoy cansado / I Am Tired43
El caso del pájaro asesinado / The Case of the Murdered Bird45
Durango / Durango47
Daytona / Daytona49
Desdicha / Misery51
No intentemos el amor nunca / Let’s Not Ever Try Love Again53
Linterna roja / Red Lantern57
Mares escarlata / Scarlet Seas59
Razón de las lágrimas / Reason for Tears61
Todo esto por amor / All This for Love63
No sé qué nombre darle en mis sueños / I Do Not Know What to Call Him in My Dreams65
Duerme, muchacho / Sleep, Sonny67
Drama o puerta cerrada / Drama or Closed Door69
Dejadme solo / Leave Me Alone71
Carne de mar / Sea Flesh73
Vieja ribera / Old Riverbank75
La canción del oeste / The Song of the West77
¿Son todos felices? / Are They All Happy?79
Nocturno entre las musarañas / Nocturne of the Shrews81
Como la piel / Like Skin83
Notes86