We may recall
that the official inauguration of the Lorca Centre went off half-cock in the
course of 2015, without pomp, without ceremony, and without the invaluable
resources of the long-awaited Lorca legacy, following the enforced abandonment
of the ambitious opening programme planned for the summer of 2011, thanks
largely to the fraudulent actions of the Foundation’s corrupt secretary, Juan
Tomás Martín.

Finally, 11
October 2018, we could visit the first exhibition made up exclusively with ítems from the
“Lorca Legacy” (the collection of thousands of documents and manuscripts as
well as literary, critical, and artistic works that bear direct witness to the
poet’s life, times and creative activity), now that they have at last been
safely stored in the Centre’s purpose-built, iron-clad strong room. It has been
a long and arduous path to get here, remarked Laura García-Lorca, president of
the Lorca Foundation, somewhat ruefully I’d say, at the brief and low-key
opening ceremony on Thursday evening. It is to be hoped that this exhibition
will mark the beginning of the “normalization” of the relationship between the
Poet and his City. It hardly needs saying this relationship has been over the
years anything but “normal”.

Desde el
Centro: Federico García Lorca y Granada
is an exhibition that has obviously been put
together with a lot of sensitivity, love and care by Ms García-Lorca herself
and a “small but extraordinary team”. It would be unfair to make a comparison
with the 1998 exhibition, Federico García
Lorca y Granada
, at the Centro Cultural Gran Capitán, organised by the
special centenary national committee, with access to the widest possible
variety of sources. If I have sneakily made such a comparison it is absolutely
and categorically more to remind myself of the splendours of that one than to
belittle this one.

Without going
into detail, but recommending a visit to anyone who can make it – it closes on
30 November -, Desde el Centro (From the Centre) lays bare the “intense
and complex” relationship of the poet with the city, what I prefer to call a
love-hate relationship. The city attracted and repelled him throughout his
life, with his love for its unique beauty and brilliant Moorish past battling
in his heart with a hate of its provincial narrow-mindedness and bourgeois
present. This is my interpretation of “intense and complex” and was not
expressed in this way in the inauguration speeches; but it is there in the

A reference in
the speeches was made to this exhibition being put together rather hurriedly,
which I suppose is an indirect reference to an unforeseen hitch in the
preparation of Amor (con alas y flechas) [Love (with wings and arrows],
an exhibition, commissioned by University of Boston Professor and Lorca expert
Christopher Maurer, which was supposed to have kicked off the Centre’s regular
programme of legacy events but has been silently removed from the calendar. So
it looks as if another undesired improvisation has been forced on the Centre’s

The Centro Lorca has become from this moment
the centre of attraction of the city’s autumn cultural programme, announced the
Councillor for Culture, proudly (defiantly?). And the Mayor described the
occasion as a further step in the “permanent commitment” of the City with the
Lorca Centre. I won’t explain how that is a political swipe of the social
democratic mayor at his conservative predecessor(s).

Although I was
present at the inauguration, for much of this post, I am indebted to Belén
Rico, Granada Hoy, 12 October, 2018