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granada la bella blog

About this blog

Here you will find my personal view about selected events relating to Granada, 'the city where anything is possible', Granada, 'la bella y la bestia', and particularly about the city's uneasy relationship with its greatest son, Federico Garcia Lorca, who alternatively loved and loathed it.


The Lorca Centre Posted on Mon, March 02, 2020 10:44:35

There is a very good exhibition on at the Lorca Centre in Granada; it runs until 31 May. It is called Suites and is curated by Melissa Dinverno, associate professor of Spanish and Portuguese at the Indiana University Bloomington. Suites is a work that represents something of a black hole in Lorca’s body of poetry. Its physical contours and content are difficult to identify, although of course André Belamich  did an excellent rescue job, eventually publishing his critical edition, first in France in 1981 and then in Spain in 1983. Otherwise, the presence of this never collected collection has tended to make itself felt by its unoverseeable effect on the rest of Lorca’s poetic works, which would be harder to make sense of without an awareness of the Suites.  Since Bellamich’s great achievement, new evidence and arguments have come in and Dinverno seems to think it’s time for a reappraisal and hence this exhibition, while promising us a new critical edition of this little known but key work in the near future.

Let us then try to define the physical contours of the work. 1921 – 1923 are the dates generally given for the composition of the Suites. That is, they come immediately after Lorca’s first poetry collection, Libro de poemas; before Primer romancero gitano, the first poem of which, Romance de la luna, luna, he started on in the summer of 1923; and they were written at the same time as his Poema del cante jondo, not published till 1931 but mostly composed in November 1921, and his Canciones, dated 1921 – 1924, published in 1927, with an additional collection Primeras canciones, written predominantly in 1922 and published also in 1931. See below.

Just looking at the Miguel García-Posada edition of the complete works (1996) makes us realise the dimensions of the poetic black hole Suites represents and what Belamich was up against when he undertook his mammoth task of reassembling the elusive set of verses it might have consisted of. Until then, the poems that were to make up this reconstructed collection had not been clearly classified. Although his work has been built on since by both Christopher Maurer and García-Posada himself, the astuteness of Belamich’s reconstruction is generally recognised and accepted today. Following Belamich´s lead, García-Posada’s complete works lists 95 pages (191 – 286) of unquestionably ‘finished’ suites, plus a dozen pages of poems that must at least be close to what the poet intended (289 – 300). Then there are around 20 pages (687 – 706) of poems not expressly excluded from the collection by the poet but which display a lower degree of readiness for publication, and which Belamich had already excluded from the definitive collection. Lastly, there are another ten pages categorised as definitely rejected (707 -718). This amounts to a total of around 137 pages.  By way of comparison, in the Complete Works of 1996 Poeta en Nueva York occupies some 65 pages, Primer romancero gitano around 45. It does not seem likely that Lorca had in mind such a diffuse and extensive work.

Because during half a century it was not presented as part of Lorca’s published oeuvre, because of its diffuseness, its apparently unfocused content and ill-defined contours, there has been a tendency to see this work as lightweight: less serious, less finished; a playful, arbitrary, almost whimsical interlude, which includes let it be said some scattered gems,  between the concise Poema del cante jondo and the more weighty and worked-out Romancero, the impact on publication of which put Canciones in the shade, and virtually nullified the still unpublished and unordered Suites.

But this exhibition points to the importance Lorca himself gave to this never quite collected collection of Suites.

Starting in August 1920, we find Lorca writing the following in a letter to Antonio Gallego Burín:

The countryside is magnificent. (…) If you could only see the sunsets so full of unearthly dew, that dew of the evening that seems to descend for the dead and for abandoned lovers, which is the same thing in the end! If you could see the melancholy of the thoughtful irrigation canals or the revolving rosarios of the water wheels. I expect the countryside to prune my lyrical branches this blesséd year with its evenings’ red knives. (My translation.)

Indeed, Viaje, dated November 1920, the first of the poems  considered by Belamich as not quite up to the standard Lorca wanted to set for his new collection, conforms to the expectations raised in the letter to Gallego Burín in the sense of being a melancholy lyrical reflection of the countryside [975*] and at the same time it may be seen as in transition from the more verbose modernist style of the Libro de poemas to the pruned, trimmed down, more succinct style that we might now call lorquiano.   

In the following year, 1921, writing from his familiar summer retreat at his father’s farm in Asquerosa/Valderrubio, Lorca assures the critic Adolfo Salazar, who had written a eulogistic review of Libro de poemas, that he is now working on “the best and most exquisite” poems he had yet produced, and, again, we have to agree that the tighter structure of the Suites certainly represented the pruning of his hitherto profuse lyrical foliage. By the end of the year, he had written more than thirty suites, Dinverno tells us.

The following two years sees the creation of twenty more new suites, as well as revisions and the publication of some as single poems in literary magazines. In May 1923, in a letter home, the poet writes with apparent self-confidence “I have decided to publish a book I have written here in Madrid of extraordinarily new things in the form of suites which i think is the most perfect thing I have created” (quoted from Dinverno’s exhibition). It must be said that Lorca’s letters home generally emphasised in an upbeat fashion the progress he was making as a serious poet and were written to counter his father’s suspicion that his son was up to no good in the capital. This second book, Lorca is insisting, will not be just a repeat of the somewhat less than successful Libro de poemas that Don Federico had not so long ago shelled out for to get published.

Finally, towards the end of July or beginning of August 1923, in a letter addressed to José de Ciria y Escalante and Melchor Fernández Almagro and referring to El jardín de las toronjas de luna, he writes that he is determined to work the whole summer refining the poem so that it comes out exactly as he wants it. “You could say I have been working on it in a state of near ecstasy”, he concludes.

Lorca must have been satisfied with the result, for by September 1923 he considered the period of composition of his Suites to be over and that it was time to find a publisher, says Dinverno.

Even so, in the following two years little seems to be done in this respect. Lorca always had a number of irons in the fire. The summer of 1924 finds him back in Asquerosa/Valderrubio finishing his book of Canciones and working on Romancero gitano. He also completes the first act of La Zapatera prodigiosa. In Madrid, meanwhile, Lorca is heavily involved in his stimulating social and cultural life at the Residencia de Estudiantes. Then, at the start of 1925, Salvador Dalí returns to the Residencia after a year’s absence due to his expulsion from the Escuela de Bellas Artes, and from then on the creative lives of the poet and the painter are closely intertwined for a while. Lorca has now ‘finished’ his play Mariana Pineda, dating it 8 January, and, taking advantage of an invitation to give a poetry recital at El Ateneo de Barcelona on 13 April, he reads it on a visit to Dalí’s family, first in Cadaqués, then in Figueras. Lorca’s stay in Cadaqués that spring is, we know, hugely influential. On his return to Madrid, Lorca starts writing Oda a Salvador Dalí, and in July, once more in Asquerosa/Valderrubio, he writes the short Dalí-inspired dialogue, El paseo de Buster Keaton. That same summer, La Zapatera prodigiosa now finished, he is working on his ‘erotic romance’ Amor de don Perlimplín con Belisa en su jardín. There is no doubt that Dalí has distracted Lorca’s attention from what the Andalusian poet would come to consider his ‘early works’.

So, January 1926 finds Lorca lamenting in a letter to Fernández Almagro that his three finished works, Suites, Poema del cante jondo, and Canciones are still without a publisher. “I want to publish,” he insists, “If I don’t do it now I never will and that would be a pity. But I want to do it right.”  In February 1926, he declares to his brother Francisco the three works are definitely ready for publication, and by early March, we know, he has made the decision to publish all three with Emilio Prados’ Imprenta Sur. In October, we also know [893], Prados was in Granada to collect the material for their publication. Yet in the end, only Canciones got published, in May 1927, due to an unfortunate series of mishaps and misunderstandings which have been well documented.

It is around this time that Lorca laments to his brother his inability to turn his ambitious poetic projects into reality, arguing the need for a secretary to overcome this personal flaw that led to Prados’ exasperation at the ‘impossible’ state of the drafts he had been presented with by the poet [875].

There are no such setbacks with the publication of the Primer romancero gitano, with only a couple of years passing between its first conceptualisation as a collection in 1926 and its publication in the Revista del occidente in July 1928. The concept of a collection called Suites, on the other hand, arises in the autumn of 1923, and Lorca is still struggling with it at the time of his death. This is one reason why we might be tempted to think that Lorca was less confident about the quality or potential reception of his pre-Romancero works.  

Nevertheless, Lorca has not by any means yet given up on his still unpublished ‘early’ works.

 In October 1930, back in Granada after his American adventure, he offers his finished poetry collections to his editor Ulises. El Poema del Cante jondo gets published, in May 1931, and Suites would surely have been, too, if it had not been for the untimely financial collapse of Ulises’ distributor. One final attempt to publish with the small publishing house run by Manuel Altalaguirre and Concha Méndez ended when the nationalist uprising unleashed the Civil War (July 1936). With this imminent publication in mind, no doubt, Lorca mentions the work in conversations, not published at the time, as a book he has put a great deal of work and love into. It must be added that Suites was just one of six unpublished poetry collections Lorca mentions in the conversations and which he left behind at the time of his death, including Poeta en Nueva York and El Diván del Tamarit, both to be published outside Spain in 1940.

And so an enormous task was left for André Belamich’s critical edition of 1983, and now, in 2020, a hundred years after the seeds of the work were sown, apparently for Dinverno’s new evaluation, based on the latest evidence, research, and scholarship, which had been unavailable for Belamich, some 40 years ago.

Dinverno’s exhibition carries the subtitle Viaje de la percepción and has two rooms, the first of which narrates the chronological vicissitudes of the failed attempts at publication of the projected collection as outlined above, and the second of which deals with Suites as a thematic or methodic conceptual unity, the purpose of which, she says, was to ‘perceive and reveal a reality beyond the conventional’; that is, they are a good deal more than just being a bundle of charming single poems. This aspect is possibly a more interesting one, but one I do not feel competent to comment on in detail.

* numbers refer to pages of notes in Miguel García-Posada’s Obras Completas I Poesía Galaxia Gutenberg/Círculo de Lectores 1996

The following link gives more information about the exhibition:

And this one contains practical information on visiting the Centre, which you should, before the end of May:


The Lorca Centre Posted on Sat, September 21, 2019 05:42:16

The Christopher Maurer Exhibition has at last opened at the Lorca Centre in Granada. Originally titled Amor (con alas y flechas) – Love (with Wings and Arrows), I notice Jardín deshecho has been added to the title: “The Derelict Garden” perhaps. It focuses on the Andalusian poet’s passionate love – and consequently, sex – life.

Maurer’s ambitious exhibition had been scheduled to launch the Centre’s programme of events to mark the arrival from Madrid of the poet’s 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 work) in October last year, but evidently some hitch led to it being removed silently from the calendar and replaced at the last minute by Desde el Centro: Federico García Lorca y Granada, which focused on the ambiguous relationship that existed between the city and its greatest son. I posted about this on 15 October 2018, #92. (See also my “saga” about the Lorca Centre’s missing millions. Many of the exhibits in the “Derelict Garden” Exhibition will be on display to the public for the first time and they will include items from private collections, such as personal correspondence from the poet which has been kept stored away down the years.

Lorca’s intense love-life, Maurer’s thesis goes, was inextricably tied up with his incessantly creative and varied literary production. His sex drive, as I understand it, was in a way “just another” creative form of self-realisation, and possibly the most powerful. All his most intimate and passionate relationships, let it be noted, were with men: the love that still did not dare to speak its name freely. Of these relationships, the one that stands out above all others was the one based on that remarkable and powerful mutual spiritual and physical attraction that existed between him and Salvador Dalí. For a short but intense period in the 1920s, this attraction was a powerful stimulus in the creative production of both artists.  

 “It was an honour for me to know that Lorca was in love with me. What Lorca felt for me was more than friendship, it was a very strong erotic passion.” These are words that Dalí, virtually on his death bed, insisted on passing on to literary historian Ian Gibson (El País, 26 January 1986). This statement was made to clarify a rather startling revelation the Catalan artist had made some twenty years earlier in an interview with Alain Bosquet (Entretiens avec Salvador Dalí. Paris 1966), when he had spoken of the overwhelming passion the poet showed for him, a passion that he felt compelled to express in a physical sexual relationship. Dalí was flattered but at the same time alarmed by his friend’s advances. With characteristic semi-ironic self-aggrandisement he said to Bosquet that he “owed” the great poet “a bit of the Divine Dalí’s arsehole” and he went on to refer to the Margarita Manso episode, in which, with Dalí as voyeur, Lorca is supposed to have made love to a young woman for the only time in his life, to compensate for missing out on the delights of the painter’s anus. “Federico was excited knowing that I was watching,” he said. “He transferred his passion from me to the girl.” The incident, which Gibson places in May 1926, is narrated fully in his biography of the painter (La vida desaforada de (The Shameful Life of) Salvador Dalí. 189). Shortly before his untimely death, Lorca confided to a friend that he had never slept with a woman, so either he suppressed the memory of that incident, refused to acknowledge it to that friend, or it never took place. 

Be that as it may, in April 1927, Lorca’s poem “Remansos” (Still Waters) was published on the cover of the literary magazine Verso y Prosa, with the enigmatic line “Margarita, ¿quién soy yo?” (Margarita, who am I?) It was accompanied by a drawing of the fused heads of Lorca and Dalí on the beach at Es Llané. (Gibson. ..vida desaforada…. 191). Meanwhile, in April 1926, Lorca’s “Oda (didáctica) a Salvador Dalí”, in which Lorca had sung in praise of the sure aim of the painter’s arrows, had appeared in the Revista de Occidente.


The arrows referred to by Maurer in his exhibition title, and by Lorca in his ode, are the symbolically phallic arrows shot into the body of Saint Sebastian, associated for Lorca with the suffering and agony of love and consequently with poetic creativity. For Dalí, by way of contrast, they were anything but that. For him, Saint Sebastian was the incarnation of the objectivity that he believed art should aspire to. The absence of emotion, the serenity, the aloofness of the saint as the arrows pierce his flesh are qualities that the painter aspired to in his art and in his life. Thus, Saint Sebastian became a symbolic point of reference for Dalí and Lorca with respect to their conflicting, practically diametrically opposed, views on life, emotional commitment, and art.

Dalí’s poem Sant Sebastià, published on 31 July 1927 and dedicated to the poet, is clearly a rejoinder to Lorca’s Ode of the previous year. The poem reiterates Dalí’s standpoint vis-à-vis Lorca with regard to aesthetic differences, which became more and more defined in the course of the 1920s. Whereas the tone of Lorca’s Ode was full of affection and admiration, there is a distancing coolness in the work of the painter.

In spite of the fact that the two men’s outlooks were becoming more and more incompatible, Lorca greeted Dalí’s poem with enthusiasm, giving it a prime position in the first edition of gallo, a literary magazine he was working on in Granada at that time. The creative stimulus that arose out of their mutual admiration continued to work for some years. Dalí’s “Lorca Period” is identified as starting with Composición con tres figuras/“Academia neocubista” in which a sort of Saint Sebastian figure in the guise of a sailor-cum-Greek youth, maybe a self-portrait, emerges meekly triumphant from the suffering that has presumably been inflicted upon him. (Rafael Santos Torroella. Dalí. Epoca de Madrid. Publicaciones de la Residencia de Estudiantes. 1994. Pp 69-74.) It lasted until Gala replaced Lorca as Dalí’s muse and by 1941 she took his place in a re-working of La miel es más dulce que la sangre (Honey is sweeter than Blood), originally painted in 1927.

The powerful attraction that stimulated both men in the end terrified Dalí. 1927 marked the zenith of their relationship, with Dalí, already recognised as a budding genius, working on the sets and decoration for the Barcelona production of Lorca’s Mariana Pineda. The faithfulness of Dalí’s interpretation of the playwright’s intentions was deemed to be absolutely spot-on.

Yet immediately afterwards, the Catalan painter launched a heartless and withering criticism of The Gypsy Ballad Book, which finally came out in 1928, saying it failed to break with conventional and traditional notions of what poetry is, its imagery was stereotyped and conformist, and it was not as daring or radical as Lorca had been led to believe by the “putrefied” literary establishment.

That criticism might have poisoned any joy the poet should have justifiably felt at the literary and popular success of the work, but what was worse was Dalí’s alignment with the homophobic Luis Buñuel, himself devoured by envy arising from the special relationship that he saw existed between the poet and the painter. This development contributed to bringing about Lorca`s deep spiritual crisis, his flight to New York, and the radical change of artistic direction that then emerged in his creative production. Lorca left for America in June 1929 feeling rejected and betrayed, less by the criticism of his Ballad Book than by the film Dalí made with Luis Buñuel: Le chien andalou: The Andalusian Dog. The Andalusian dog, he knew, was him.

His unhappiness was compounded by his failure to find compensation for his estrangement from Dalí through the unfortunate relationship with the sculptor Emilio Aladrén which he maintained from 1927 to 1928, when the sculptor, supposedly bisexual, abandoned Lorca for an Elizabeth Arden, the cosmetics firm, agent.

So, in 1928, just as his literary breakthrough arrived in the form of the successes of Mariana Pineda and the Gypsy Ballad Book, he began talking more and more frequently of his emotional crisis, which led to family friend Fernando de los Ríos accompanying him on the trip to New York. Stateside, in August 1929 he spent ten days in Eden Mills, Vermont, staying with Philip Cummings, like Aladrén eight years his junior, who he had met in Madrid the previous year. Cummings claims to have destroyed on the poet’s death, in accordance with instructions given, material left him which gave vent to his feelings of rejection and betrayal vis-à-vis Dalí’s collusion with Buñuel.

Lorca’s literary production in these years, from the late 20s to the early 30s, developed in step with the highs and lows – wings and arrows – of his powerfully emotional response to his homosexual relationships. 


The Lorca Centre Posted on Mon, October 15, 2018 20:39:41

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

Job vacancies (2)

The Lorca Centre Posted on Wed, March 14, 2018 17:41:49

Job vacancies at the Lorca Centre, we announced in #post 77 (21.01.2018). So far,
views of the Lorca Centre always give the impression of a big empty space with
little human activity. Hopefully, this will change when the Centre receives the
legacy it was set up for and starts to be truly operative. The arrival of the
complete legacy at the Lorca Centre they say (G. Cappa Granada Hoy,
14 March, 2018) will create the need for around 15 employees, first and
foremost curators and archivists, and:

a manager, to be selected by a public tendering process

a programme co-ordinator,

two librarians,

a receptionist,

three or four maintenance personnel (possibly

an accountant,

and at least three or four office administration staff

Get your
applications in now!

Dalí’s contribution to the Lorca legacy

The Lorca Centre Posted on Wed, March 14, 2018 17:34:20

How much is Lorca
worth today? we asked in #post78 (24.01.2018).

Well an insurance of 12 million Euros has been
arranged to cover the transfer of the first part of the Lorca ´legacy’ from the
Residencia de Estudiantes to the
Lorca Centre in Plaza Romanilla on the
occasion of the Una habitación propia (A room of his own)-exhibition, which is to open on 22 March.

Mind you, more than a couple of million of this insured
value are accounted for by two works of Salvador Dalí that the painter gave the
poet to mark their close friendship while at the Residencia in the early 20s. The
decidedly most valuable part of the exhibition is the still life, also known as
‘Siphon and bottle of rum’, painted in 1924 in the painter’s brief cubist
period, a painting which had pride of place in Lorca’s room at the Residencia. [See images.] The
exhibition will also include the correspondence between Lorca and Dalí, as well
as the poet’s correspondence with his parents. It was on at the Residencia until last October to mark
the departure of the legacy which was supposed to have happened last year.

Cappa Granada Hoy, 14 Marzo, 2018


The Lorca Centre Posted on Sun, January 28, 2018 10:19:40

In the coming
weeks and months a suitable cultural programme will have to be worked out to
mark the arrival of the Lorca legacy at the Lorca Centre in June this year,
touch wood.

This of course
will be the second time such a programme has had to be devised.

Seven years ago,
a truly impressive programme, the aim of which was to position the Centre as
‘one of the most important cultural assets’ in Spain, was announced for the
planned opening in the summer of 2011. I wrote about it in //,
dated 20 October 2010, and in //, on 30 January
2011. The programme included:

exhibition about Lorca’s poetry collection Poet in New York.

artistic staging of the public readings Lorca used to give of Poet in New
in the 1930s

an exhibition on Dalí, Lorca y la Residencia
de Estudiantes

a performance of the ‘impossible’ play How Five
Years Pass

production fusing the unfinished play we call Comedy without a Title
with its ‘play within the play’ Shakespeare’s A Midsummer Night’s Dream.

All this was not
to be. As we now know, thanks largely to the fraudulent actions of the
Foundation’s corrupt secretary Juan Tomás Martín, a financial hole of several
million euros appeared in the accounts which prevented the completion of the
work on the building and meant the ambitious programme had to be scrapped (//, 9 June 2011). When the
Centre was finally opened in 2015, it was a low-key affair without pomp,
without ceremony, – and without the legacy. (//,
February 2017).

There is some
urgency in finalising the new programme, as suitable sponsors need to be found
for each of the chosen events.

It hardly needs
adding that La Caixa will be a prime candidate for a role in these sponsorship
plans. Compare #post76 dated 20 January 2018

Starting point for this
post was also G. Cappa’s article in Granada Hoy, 17 January 2018 El emblema de La Caixa respaldará el Centro Lorca durante una década


The Lorca Centre Posted on Wed, January 24, 2018 17:53:37

As a
poet-playwright, Lorca started making serious money when his plays,
particularly Blood Wedding, got put
on in Buenos Aires in the mid-1930s. In the years of the Second Republic he was
doing alright. But the money he was worth during his lifetime pales into
insignificance when we consider how much his works are worth today.

Of course, one
would have to say that it’s impossible to put a price on the literary legacy
that Lorca left us. In 2007 Christie’s auction house actually had a go,
estimating its value at between 11 and 17.5 million euros, but that was ten
years ago. The consortium responsible for financing the Centre more recently
used a figure of 18.7 million as an estimation to set up as a security for a
one-million-euro debt. Otherwise it has been common to talk about 20 million
euros or more

the private agreement between the Lorca Foundation and La Caixa (see post#76, 20
January 2018) failed to put a figure on the estimated value of the legacy, which
is a pity because, even if we agree the collection is priceless, an erroneous
valuation could have negative financial and even culture-political

For it is not
only the legacy, but the value of the legacy, that attracts tourists to
Granada. A legacy valued at 11 million euros will not have the same pull as one
worth 20 million.

Lorca y Lola Membrives
después del estreno de “Bodas de sangre” en 1933, en Buenos Aires. Marilyne Gourel de St Pern

Acknowledgement: Facts and
figures from G. Cappa’s article in Granada Hoy, 17 January 2018 El emblema de La Caixa respaldará el Centro Lorca durante una década


The Lorca Centre Posted on Sun, January 21, 2018 16:27:18

The Lorca Centre
needs librarians, archivists, filing staff, and such, to keep a track of the
thousands of original manuscripts and documents that make up the invaluable
literary legacy left behind by the city’s outstanding poet.

Apart from the
manuscripts, correspondence, and first editions in its unique collection, the
Foundation is also in possession of a huge collection of books: all the books
that have ever been written and published about Lorca in all the world’s
languages, apparently!

Once the Centre
starts operating properly, not only will staff be needed to manage the
archives, there will also be a need for personnel to advise and inform the
public and to assist researchers who will come from all corners of the globe.
It is clear that the work will require specially trained employees with expert

What a fabulous
environment to work in. Any takers?A cross-section of the Centre, its library, and the purpose-built, iron-clad strong room where Lorca’s material legacy will be kept.

information taken from G. Cappa, Granada Hoy, 17 January 2018 El emblema de La Caixa respaldará el Centro Lorca durante una década

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