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As he wrote La casa de Bernarda Alba, Federico Garcia Lorca explained: "drama is poetry that escapes the book and becomes human. And as it is being made it talks and shouts, cries and despairs".Lorca saw in theatre the most perfect means to reach people's souls, more immediate and effective than poetry, and he kindled this possibility even amidst difficult times.Lorca is, mainly, a poet, and as so his plays possess great visual as well as linguistic virtue.The last of the rural tragedies -Bernarda Alba was preceded by Bodas de sangre (1933) and Yerma (1934)- was finished in June 1936. It was meant to open in Buenos Aires in October, played by the Margarita Xirgu company, but Lorca was murdered in July. War events postponed the opening until 1945, but in Spain the play would stay banned until 1964.The plot is deceivingly simple: Bernarda Alba exerts a tyrant control upon her daughters, who live as prisoners within her house walls.The conflict is deprivation of freedom, blown up to tragic proportions by the death of Bernarda Alba's second husband and her decision to impose eight years of strict mourning. But this mourning goes far beyond the usual black clothing: during the following eight years no one will leave the house, and no man will enter.The reclusion is the results of them being women of a certain social position.The authority/freedom conflict is visible through the submission of the feminine condition -the subtitle Drama of women in the towns of Spain highlights this-. Freedom is stifled by the prejudices of a social class enslaved by appearance and tortured afraid by gossip.Lorca's theatrical experience is highly noticeable in his way of highlighting the conflict without superfluous details: lighting, costumes, text and language, and the actresses' movements, everything is measured to the last millimeter.And the closing words of the main character become a remarkable premonition of what would shroud Spain during many following years. "And I do not want sobbing. Death must be stared in her face". "¡Silence, silence I have said! ¡Silence!Professor Borja Rodriguez-Gutierrez adds to this edition a clear introductory essay that dismantles Garcia Lorca's clockwork mechanism, while introducing annotations that allow the reader to fully grasp the meaning of this influential cornerstone of Hispanic letters.

In spite of the precedent of Bartolomé Hidalgo's "Cielitos y Diálogos patrióticos" -that defined the " cielito" as the tone of voice for the "gauchesca" genre- it is Hilario Ascasubi who should be considered the first of the "gauchi-poetas", as his works opened the roads to Estanislao del Campo's "Fausto" (1866) and José Hernández's "Martin Fierro" (1873).Santos Vega o los mellizos de la Flor was started in 1850, and published for the first time in 1851 in Montevideo as two deliveries of just 10 chapters spanning 1,080 versesIt is just in 1872 that Ascasubi, during his stay as diplomat in París, completes the sixty five chapters and more than 13,000 verses.In the author's own words: "the canevas of the Mellizos de la Flor, is a favourite subject of the argentine gauchos, it is the story of a maverick capable of every conceivable crime that gave the justice a handful. By referring his deeds and criminal life through Santos Vega, the wandering troubadour and country folk myth I also wanted to consecrate, the opportunity is happily fit to sketch the daily life of the Estancia and its inhabitants, as well as to describe the countryside most peculiar customs along with some traces of the city life".Based on the original 1872 complete text first published in Paris and printed by Imprenta de Paul Dupont, our edition adds to the author's own to complete no less than 803 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions.These notes were made after a careful research work that includedRamón R. Capdevila 1700 refranes, dichos y modismos (región central bonaerense), Ed. Patria, Bs. As. 1955; Emilio Solanet Pelajes Criollos, Ed. Kraft, Bs. As. 1955; Tito Saubidet Vocabulario y refranero criollo, Ed. Kraft, Bs. As. 1943 Eleuterio F. Tiscornia Edición crítica de Poetas Gauchescos, , Ed. Losada, Bs. As, 1940 José Gobello Ascasubi lexicógrafo, , Marcelo Oliveri Editor, Bs. As. 2003 Juan Carlos Guarnieri, Diccionario del leguaje campesino rioplatense, Editorial Florencia & Lafon, Montevideo 1968 Daniel Granada, Vocabulario rioplatense razonado, Imprenta Rural, Montevideo 1890

La gaviota, the great Fernan Caballero Spanish novel, in a US printed edition Fernán Caballero is one of the great XIX Century Spanish novelist, considered the first to introduce the realist novel in Spain. That alone would have granted the author a place among Spanish writers, but the fact that Caballero is a pseudonim behind which stands a woman, transforms the author into a novelistic character in her own right. Cecilia Böhl de Faber's life is as fascinating as her characters. Born in Switzerland, educated in France, Cecilia Böhl became a highly successful woman writer in Spain, even regarded as the Spanish answer to Walter Scott, not a minor feat in the Spanish society of that time. La gaviota is her first novel. Originally written in French it was translated into Spanish with the author's own supervision, and immediately caught the demanding Spanish literary circles attention. Even though this is the type of books reserved to Spanish studies readings, in this edition we took care to include just the necessary annotations as to help the modern reader sail through the novel without any obstrusive lengthy interruptions. If you enjoy reading in Spanish, and admire brilliant prose, this is a book to read.