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		<TitleText>Poems of Arab Andalusia</TitleText>
		
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		<PersonNameInverted>Franzen, Cola</PersonNameInverted> 
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		<BiographicalNote>Cola Franzen has translated from Spanish some twenty volumes of prose and poetry, including &lt;i&gt;Poems of Arab Andalusia &lt;/i&gt;(City Lights), Claudia Guilln's &lt;i&gt;The Challenge of Comparative Literature, &lt;/i&gt;and &lt;i&gt;Dreams of the Abandoned Seducer &lt;/i&gt;by Alicia Borinsky.</BiographicalNote>
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		<PersonNameInverted>Franzen, Cola</PersonNameInverted> 
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		<BiographicalNote>Cola Franzen has translated from Spanish some twenty volumes of prose and poetry, including &lt;i&gt;Poems of Arab Andalusia &lt;/i&gt;(City Lights), Claudia Guilln's &lt;i&gt;The Challenge of Comparative Literature, &lt;/i&gt;and &lt;i&gt;Dreams of the Abandoned Seducer &lt;/i&gt;by Alicia Borinsky.</BiographicalNote>
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		<SubjectHeadingText>Poetry</SubjectHeadingText>
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		<SubjectHeadingText>Poetry in Translation</SubjectHeadingText>
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		<Text language="eng">&lt;P&gt;These poems, from the astonishing 10th- through 13th-century civilization in Andalusia, are based on the codex of Ibn Sa'id, who wanted poems "whose idea is more subtle than the West Wind, and whose language is more beautiful than a fair face." Spanish readers have long been enchanted by their enduring appeal through the versions by Emilio Garcia Gomez. This poetry of Arab Andalusia made a profound impact on Spain's Generation of '27. Rafael Alberti says that it "was a revelation for me and had a great influence on my work, but above all influenced the work of Federico Garcia Lorca.&lt;/P&gt;</Text>
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		<Text language="eng">These poems, from the astonishing 10th- through 13th-century civilization in Andalusia, are based on the codex of Ibn Sa'id, who wanted poems "whose idea is more subtle than the West Wind, and whose language is more beautiful than a fair face."...</Text>
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		<Text>"Cola Franzen in 1989 translated into English the Spanish versions of the Arab poems by Emilio Garcia Gomez, a Spanish Arabist who had acquired a large body of Arab Andalusian poetry while in Egypt in 1927. There are undoubtedly African, Jewish and Berber poets in her City Lights book, &lt;em&gt;Poems of Arab Andalusia,&lt;/em&gt; but they were all writing in Arabic, just as today many African  and Berber writers work in French and English. . .Today in the New World, even in the American Southwest and California, Arab Andalusian architecture and landscaping is manifest if unrecognized. It was appropriate that a California publisher, City Lights, should remind the New World how indebted it is to Arab Andalusia."&lt;br /&gt;
Djelloul Marbrook</Text>
		<TextSourceTitle>Istanbul Literary Review</TextSourceTitle>
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		<Text>"Cola Franzen's vibrant, delicious and faithful renderings of this poetic motherlode are, to quote from a poet in her marvelous compilation, 'shooting stars that leap agile as acrobats'."</Text>
		<TextAuthor>Christopher Sawyer-Laucanno, author of &lt;i&gt;An Invisible Spectator: A Biography of Paul Bowles&lt;/i&gt;</TextAuthor> 
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		<Text>"Of those things which delight the senses (according to a Tradition of the Prophet) the chiefest are 'water, green things &amp; a beautiful face'; therefore a poetry of noble exquisiteness limits itself to certain tropes, in which the wisdom of sensuality is endlessly rediscovered. Blow dust from the folios of the vanished Moors &amp; be stabbed by the Urgent Necessity of light-dappled fountains, the fractals of the garden, the transmutations of desire."</Text>
		<TextAuthor>Peter Lamborn Wilson, author of &lt;i&gt;Scandal: Essays in Islamic Heresy</TextAuthor> 
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