In Mirror Suite, Federico García Lorca explores questions of selfhood using the mirror as his guiding motif, asking how love manages to endure when other people’s interior lives seem so utterly inaccessible, and what it means for an imperfect person to be made in the image of God.
It’s interesting to think about whom cities choose (or not) to memorialize. Of course cities want to associate themselves with the celebrities who were born or lived within their limits. But statues are also places where, to borrow a phrase from Eula Biss, “a city’s imagination resides.”
Somewhere deep in the “remotest mansions of the blood,” where Lorca said the duende lives, I think I still have the capacity for a good cry. At some point in my life I lost this. Or it was wrested from me. Either way it’s now as foreign a tongue to me as Lorca’s Spanish. I…
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