Alongside all of them, ‘his shadow’-the Guardia Civil-also appears in the events that Lorca narrates and with it fear, violence and grief emerge. Thus, the nun, the lover, the child or the compadres appear alongside Soledad Montoya or Antoñito el Camborio, the naming of characters becoming a mechanism that grants dignity. Composed of eighteen different romances, this book is an ‘Andalusian altarpiece’ where Romani characters take centre stage. This fascination was already visible in Poema del Cante Jondo (1921), which culminated in his Romancero Gitano, a poetry book in which Lorca worked conscientiously for several years. Within this popular cluster, and through his interest in cante jondo, the poet delved into Romani culture.
However, more than gathering inspiration from the urban environment of a large city, Lorca always defended that his first interest lay in the Spanish folklore. In a letter sent to his parents from New York, Federico García Lorca writes: ‘I am very happy, overflowing with joy and I have no concern other than hearing from you soon.’ Dated on June 28, 1929, the words from the poet, although perhaps softened, are a brief testimony of his stay in the United States, which would lead to the creation of his famous poetry collection Poeta en Nueva York.
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