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Sleepless city lorca, depression pain quotes - Review

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I argue that through Lorca’s poetry we can learn how to approach this current economic crisis with a perspective and awareness that is more constructive than the fear-base underpinning much of the current media response.
Lorca understood and captured the substance of the processes of capitalism in Keynesian, Neoclassical and Classical economics; flux. I suggest that this same quality denotes Garcia Lorca’s New York Poetry and carries with it a warning in the face of the continuing Eurozone talks.
Lorca’s New York poetry tells us most about his relationship with modernity and capitalism. Dali had criticized Lorca for not capturing modernity, with much of Lorca’s previous work focusing on rural Andalusian life.
Dali’s comment provoked Lorca’s decision to leave his beloved Andalusia and go to New York.
Despite this, his New York poetry is starkly bleak and void of the sensuality evident in poems such as: “Son de Negros en Cuba”, written in Cuba on Lorca’s return to Andalusia from left New York. The absence of sexuality in “Poeta en Neuva York” hints at isolation from the natural world, and at personal alienation, which is especially redolent in “Ciudad sin sueno” (Sleepless City). Lorca was acutely aware of the distinction between the individual and the ‘public’, which resulted in isolation.

Despite its bright lights, Lorca’s New York is a city of darkness and the only real light is from the moon. If Lorca is to be read in terms of economic forecasts, his poetry is not implying that we should accept this inevitability. Lorca surpass the underlying contradiction of a city that never sleeps, but needs to wake up, by describing an automated world, which is void of sensuality. Lorca often used New York’s theatricality to symbolise the need for both perspective and change.
Lorca’s defiant message in a lecture in New York in 1930 was that he had not come to entertain but to fight. This ‘bottom billion’ of the world population symbolises the risk that Lorca hinted at in his poetry and which we are now all too fully aware of.
Ultimately, Lorca is warning about the nature of a system that turns in on itself, that melts into air and recreates more of the same. The usual image of the city is a place of noise, a cacophony of sound, an aural assault on our ears, preventing us from enjoying any sense of peace.
Alongside concerns about air pollution in the city, we also hear complaints about noise pollution.

Lorca’s engagement with modernity 70 years ago is all at once detached and anguished, enraged and reconciled, and ultimately unified through contradiction.
The moon is a symbol of death for Lorca, and throughout the poem the implication is that death is waiting for a city that doesn’t sleep.
This conjures obvious connotations of a city trapped by its own obsession with progress, echoed by the lines: “there is no oblivion, no dream”. It is not surprising that through his poetry Lorca perceived modern New York as a staged production. The city became jungle like to Lorca, with hordes of people scuttling like ‘furious ants’ to skyscraper buildings.

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