PENGUIN PBK,1980

    Presents a collection of lectures, poetry readings, and talks given by the Spanish poet and playwright during the 1920s and 1930s.

    With its superb display of paintings by Vel zquez and other contemporary artists, the palace became a showcase for the art and culture of Spain's Golden Age. A Palace for a King, first published in 1980, provides a pioneering total history of the construction, decoration, and uses of a major royal palace, emphasising the relationship of art and politics at a critical moment in European history. produced on different aspects of the history of the palace and its decoration since the 1970s. A number of new, unpublished illustrations have been added, and many of the plates are now reproduced in colour. The publication of this edition gains added importance from the fact that plans for the expansion of the Prado Museum include the restoration of the Hall of Realms to approximate its original appearance, as reconstructed in this volume.

    Set up by the Roman Catholic church to supress heresy, it operated in France, Italy, Spain, and the Holy Roman Empire, and was later extended to the Americas. Trials were held in secret, torture was common, and penalties ranged from simple fines and flogging to death by burning. Lea's majestrial study remains one of the most detailed and comprehensive accounts ever published. It continues to be an essential source for scholars of the Inquisition and medieval Spain. This edition includes the scarce volume on the inquisition in the Spanish dependencies. Introduced by Professor Lu Ann Homza, a leading contemporay scholar of the Inquisition, this handsome 5-volume set will be welcomed by researchers, collectors and institutions alike.

    He sits alone in a small theater in this private hell, viewing scenes from his own life performed over and over and over. Unexpectedly, two doppelgängers appear, one a middle-aged Lorca, the other an irascible octogenarian self, and the poet faces a nightmarish confusion of alternative identities and destinies.Carlos Rojas uses a fantastic premise—García Lorca in hell—to reexamine the poet’s life and speculate on alternatives to his tragic end. Rojas creates with a surrealist’s eye and a moral philosopher’s mind. He conjures a profoundly original world, and in so doing earns a place among such international peers as Gabriel García Márquez, Philip Roth, J. M. Coetzee, and José Saramago.