Landscape of the Bleeding Crowd
A letter by Federico García Lorca to his friend Regino Sainz
de la Maza, guitarist and compatriot in Spain’s ‘Generación del ’27.’
The United States, where Lorca enrolled at Columbia University in
1929-1930, was his first trip abroad before he traveled south to Cuba.
Lorca was on Wall Street on the day of the stock market crash. Any
resemblance to real people is purely intentional.
Untitled by Samira Abbassy, from the Urban Jealousy series at the International Roaming Biennial of Tehran.
October 30, 1929
Esteemed friend:
When this letter reaches you I would not blame you if you found it
part-bourgeois, part-Nietszche. It is Wednesday and I am sitting in a
warm apartment in Harlem. Yesterday was Black Tuesday: an open gallery
to the multitude of death. Other people’s deaths, actual and real,
happen in plural numbers, whereas one’s own, abstract and invisible, is
perceived to be utterly unique. Singularly special! This is our
sickness.
The signs I saw around the necks of many young men yesterday said:
‘WANTED, A Decent Job,’ followed by a self-description (‘Family Man,’
‘Three Young Children’) and age. It is hard for a man to be a man like
it is hard for a dog to be a dog.
Sometimes I want to remain asleep but I am expulsed into the street
like a braying sheep, a no-nothing wrapped in sopoforic wool, eager to
know what all the fuss is about. I remain that way until I see the
butcher shining his knife in a fresh white apron. Then I know.
Yesterday was the first time since arriving some months ago that I
felt frightened, and the grid-jungle appeared as a death trap. The port,
rather than looking outward to Atlantis, became the mote around a
strange and awful castle where the candlelights were suddenly blown out.
Darkness set in amidst the confusion of automobiles and skyscrapers.
Remember when you wrote that South America is the
Andalucía de América? And what of North America? Where is its what?
No one looked at another with enmity yesterday. Only fear—the
anguished fear that violently pierces the hearts of men and women and
even children when faced with their closing fate. I am pushing this pen
against the page in order to delay telling you the inevitable, that I
witnessed not one, not two, but six suicides yesterday, and I dread you
asking what expression I saw on their faces as they each fell to earth.
In truth their faces wore nothing, not even the specter of fear. I
watched as one watches a skeleton. My despair rose to my temples and my
hands shook. Contemplation stopped! It was a VEIN-OPENING and I scarcely
knew who held the dagger.
There was a woman among them and she threw her hat down before
stepping onto the ledge. We watched that gray furry hat float down with
the excruciatingly slow speed of an indifferent feather. Below her
Babylon shook. There were shouts in more languages that all of Paris or
London contain.
Since alcohol is still prohibited, what poison will they (will we?)
drink to counteract the venom of this world? There is no sherry or
Fundador brandy strong enough as the strychnine this demands.
I wrote ‘Ruina’ and dedicated it to you today, it will soon be
published. Do you want to know how it came to me? Predictably the germ
was planted in a dream. ‘You alone and I remain. I alone and you remain.
One must look quickly, love, quickly, for our profile without sleep.’
Prepare your skeleton, friend!
I want to mock all the things and scream at all the things. That
dinner party at Mildred Adams’—that Spanish-speaking journalist in
Granada, you remember?—is far away. My ears are bereft of the music of
Albéniz and Falla and your own. The sensual warmth of the polymaths
gathered around a dining table seems a century-and-a-half away even
though it was only months ago when the Spanish colonies of New York and
red-wearing hispanophiles befriended me. I will soon visit Philip
Cummings, the writer and Spanish teacher in Vermont. I am ashamed of the
departure from New York, ashamed like a half-tourist reluctantly
escaping the scene of a famine. This is not a metaphor.
It is only five o’clock in the evening but already it is pitch black
outside, as black as the cement on this shaken earth. This is the world,
friend, a bushel of coal. Meanwhile, meanwhile, meanwhile. Yesterday’s
dead decompose below the clocks of this city.
Since you are full of inquietude and melancholy you will understand the melancholic’s desire to fly.
An enormous and tight embrace,
Federico