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April 10, 2026
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"The day that hunger is eradicated from the earth there will be the greatest spiritual explosion the world has ever known. Humanity cannot imagine the joy that will burst into the world on the day of that great revolution."
"Caballito negro. ÂżDĂłnde llevas tu jinete muerto?"
"Verde que te quiero verde. Verde viento. Verdes ramas. El barco sobre la mar y el caballo en la montaña."
"Los caballos negros son. Las herraduras son negras. Sobre las capas relucen manchas de tinta y de cera. Tienen, por eso no lloran, de plomo las calaveras. Con el alma de charol vienen por la carretera."
"Las heridas quemaban como soles a las cinco de la tarde, y el gentĂo rompĂa las ventanas a las cinco de la tarde. A las cinco de la tarde. ¡Ay quĂ© terribles cinco de la tarde! ¡Eran las cinco en todos los relojes! ¡Eran las cinco en sombra de la tarde!"
"¡Que no quiero verla!Dile a la luna que venga, que no quiero ver la sangre de Ignacio sobre la arena.¡Que no quiero verla!"
"Pero ya duerme sin fin. Ya los musgos y la hierba abren con dedos seguros la flor de su calavera. Y su sangre ya viene cantando: cantando por marismas y praderas, resbalando por cuernos ateridos, vacilando sin alma por la niebla, tropezando con miles de pezuñas como una larga, oscura, triste lengua, para formar un charco de agonĂa junto al Guadalquivir de las estrellas. ¡Oh blanco muro de España! ¡Oh negro toro de pena! ¡Oh sangre dura de Ignacio! ¡Oh ruiseñor de sus venas!"
"No te conoce el toro ni la higuera, ni caballos ni hormigas de tu casa. No te conoce el niño ni la tarde porque te has muerto para siempre.No te conoce el lomo de la piedra, ni el raso negro donde te destrozas. No te conoce tu recuerdo mudo porque te has muerto para siempre.El otoño vendrá con caracolas, uva de niebla y montes agrupados, pero nadie querrá mirar tus ojos porque te has muerto para siempre.Porque te has muerto para siempre, como todos los muertos de la Tierra, como todos los muertos que se olvidan en un montĂłn de perros apagados.No te conoce nadie. No. Pero yo te canto. Yo canto para luego tu perfil y tu gracia. La madurez insigne de tu conocimiento. Tu apetencia de muerte y el gusto de su boca. La tristeza que tuvo tu valiente alegrĂa."
"Verte desnuda es recordar la Tierra."
"Como no me he preocupado de nacer, no me preocupo de morir."
"El remanso del aire bajo la rama del eco.El remanso del agua bajo fronda de luceros.El remanso de tu boca bajo espesura de besos."
"Un muerto en España está más vivo como muerto que en ningún sitio del mundo."
"¡No me mires más! Si quieres te daré mis ojos, que son frescos, y mis espaldas para que te compongas la joroba que tienes."
"Las viejas vemos a través de las paredes."
"Siempre has sido lista. Has visto lo malo de las gentes a cien leguas... Pero los hijos son los hijos. Ahora estás ciega."
"I suppose he had the good luck to be executed, no? I had an hour's chat with him in Buenos Aires. He struck me as a kind of play actor, no? Living up to a certain role. I mean, being a professional Andalusian... But in the case of Lorca, it was very strange because I lived in Andalusia and the Andalusians aren't a bit like that. His were stage Andalusians. Maybe he thought that in Buenos Aires he had to live up to that character, but in Andalusia, people are not like that. In fact, if you are in Andalusia, if you are talking to a man of letters and you speak to him about bullfights, he'll say, 'Oh well, that sort of this pleases people, I suppose, but really the torero works in no danger whatsoever.' Because they are bored by these things, because every writer is bored by the local color in his own country. Well, when I met Lorca, he was being a professional Andalusian... Besides, Lorca wanted to astonish us. He said to me that he was very troubled about a very important figure in the contemporary world. A character in whom he could see all the tragedy of American life. And then he went on in this way until I asked him who was this character and it turned out this character was Mickey Mouse. I suppose he was trying to be clever. And I thought, 'That's the kind of thing you say when you are very, very young and you want to astonish somebody.' But after all, he was a grown man, he had no need, he could have talked in a different way. But when he started in about Mickey Mouse being a symbol of America, there was a friend of mine there and he looked at me and I looked at him and we both walked away because we were too old for that kind of game, no? Even at that time."
"Well, [Lorca had] a gift for gab. For example, he makes striking metaphors, but I think he makes striking metaphors for him, because I think that his world was mostly verbal. I think that he was fond of playing words against each other, the contrast of words, but I wonder if he knew what he was doing."
"it takes quite a talent for a playwright to internalize and remain distant at the same time. I think that is why all the great playwrights like Shakespeare, GarcĂa Lorca, and several others have been poets as well."
"Enamored of the work of the poet Federico Garcia Lorca, Anna Margolin undertook to learn Spanish."
"I remember that Federico GarcĂa Lorca was always asking me to read my lines, my poetry, and yet in the middle of my reading, he would say, "Stop, stop! Don't go on, lest you influence me!""
"choppy and unabsorbed a set of results as we have seen, during the last few years, in those poets who have used Lorca, whole and unassimilated, corrupting the fiery purities of his Spanish into a grotesque of English."
"18 August 1936 is the most likely date in which the gay socialist poet Federico GarcĂa Lorca was taken from his jail cell and executed on the order of right-wing general Francisco Franco's military forces. The exact circumstances of his death are unclear, but after being arrested on August 16 he was probably killed on August 18 in the early hours of the morning. The Spanish civil War, which pitted workers and peasants against the military, nationalist and fascist, had broken out one month previously. And it was clear on what side Lorca's sympathies lay: “I will always be on the side of those who have nothing and who are not even allowed to enjoy the nothing they have in peace.”"
Young though he was, his radiant energy produced such an impression of absolute reliability that Hedgewar made him the first sarkaryavah, or general secretary, of the RSS.
- Gopal Mukund Huddar
Largely because of the influence of communists in London, Huddar's conversion into an enthusiastic supporter of the fight against fascism was quick and smooth. The ease with which he crossed from one worldview to another betrays the fact that he had not properly understood the world he had grown in.
Huddar would have been 101 now had he been alive. But then centenaries are not celebrated only to register how old so and so would have been and when. They are usually celebrated to explore how much poorer our lives are without them. Maharashtrian public life is poorer without him. It is poorer for not having made the effort to recall an extraordinary life.
I regret I was not there to listen to Balaji Huddar's speech [...] No matter how many times you listen to him, his speeches are so delightful that you feel like listening to them again and again.
By the time he came out of Franco's prison, Huddar had relinquished many of his old ideas. He displayed a worldview completely different from that of the RSS, even though he continued to remain deferential to Hedgewar and maintained a personal relationship with him.