Tag Archives: Federico Garcia Lorca

lovesick ghosts might

03 Wednesday Sep 2014

Posted by in Poetry, sonnet

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“That mysterious force that everyone feels yet no philosopher has explained.”
– Federico Garcia Lorca’s definition of Duende.

Childhood is overflowing, burning rough
into dim adulthood. Lovesick ghosts might

poke a hole, shelter your heart, kiss the scruff
of your neck. The dead often do despite

voices stating that they’re not there. Hidden,
like flame, like paper lanterns in the breeze.

Paper birds. Paper burns, leaving ruin
behind. Call that deep magic, what gypsies

still call, “Duende.” A child’s first heartbreak
knows it when it hears it. Nothing can heal

that flame. There is no exit, no logic,
no voice. Even now, adult, you feel ache,

that’s your birthright. All of life is surreal.
What you call pain and children deep magic.

garcia lorca’s sorpresa [por michael brown]

13 Wednesday Aug 2014

Posted by in Armenian, Poetry, Spanish, Translation

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… because even as I work on this translation another person has been shot by police in Ferguson, MO.  As Garcia Lorca said about an apathetic country when its children are murdered by their own police, “Nobody could look into his eyes staring up into the hard air.” I suppose this is the point where I say something cliché like, “I pray for peace,” when in reality the only way there will be peace is when those who have been hiding behind their “to serve and protect” badges are held accountable.

][

SORPRESA

— by Federico Garcia Lorca

Muerto se quedó en la calle con un puñal en el pecho.

No lo conocía nadie.

¡Cómo temblaba el farol!

¡Madre, cómo temblaba el farolito de la calle!

Era madrugada.

Nadie pudo asomarse a sus ojos abiertos al duro aire.

Que muerto se quedó en la calle que con un puñal en el pecho y que no lo conocía nadie.

][

[in English]

SURPRISE

Dead they left him in the street with a knife in his chest.

No one knew who he was.

How the lamppost trembled!

Mother! How the little lantern trembled!

It was early morning.

Nobody could look into his eyes staring up into the hard air.

And he was dead in the street with a knife in his chest, and no one knew who he was.

][

[in Armenian, transliteration]

ANAKNKAL

Merrats e, vor lk’yel e nran p’voghots’um danakov ir krtsk’avandaki.

Voch’ vok’ ch’giter, t’ye ov e na:

Vor lapterasyun vakhets’av!

Mayry! P’vok’r lamperi vakhets’av!

Da vagh arravotyan:

Voch’ vok’ ch’i karogh nayel nra ach’k’yeri mej ch’ap’azants’ ach’k’i ynknogh mej tsanr od:

Yev na merrats p’voghots’um danakov ir krtsk’avandaki, yev voch’ vok’ ch’giter, t’ye ov e ink’y:

][

[in Armenian]

ԱՆԱԿՆԿԱԼ

Մեռած է, որ լքել է նրան փողոցում դանակով իր կրծքավանդակի.

Ոչ ոք չգիտեր, թե ով է նա:

Որ լապտերասյուն վախեցավ!

Մայրը! Փոքր լամպերի վախեցավ!

Դա վաղ առավոտյան:

Ոչ ոք չի կարող նայել նրա աչքերի մեջ չափազանց աչքի ընկնող մեջ ծանր օդ:

Եւ նա մեռած փողոցում դանակով իր կրծքավանդակի, եւ ոչ ոք չգիտեր, թե ով է ինքը:

garcia lorca’s la guitarra [in english and armenian]

13 Wednesday Aug 2014

Posted by in Illustration and art, Poetry, Spanish, Translation

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awesome

Note from the Translator:

I must apologize with my sorry attempts to bring a beautiful Spanish poem by Federico Garcia Lorca into both English (my mother tongue) and fantastic Armenian. I’ve been told on more than one occasion that both my grasp of Spanish and Armenian are comically pathetic, usually by native speakers, which is only fair. However, life is short and as far as I can tell there is nobody who lives near by to help in my translations, so I present these new labors, not because it is the best that you can find for free on the Internets but because it’s the best that I can do. You’ll find four versions here; the original Spanish, my English translation, and since not a lot of people can read pure, uncut Armenian, a transliteration version as well as the pure Heyeren. Hope it does not displease. Cheers!

][

LA GUITARRA

— Federico Garcia Lorca

Empieza el llanto de la guitarra.

Se rompen las copas de la madrugada.

Empieza el llanto de la guitarra.

Es inútil callarla.

Es imposible callarla.

Llora monótona como llora el agua, como llora el viento sobre la nevada.

Es imposible callarla.

Llora por cosas lejanas.

Arena del Sur caliente que pide camelias blancas.

Llora flecha sin blanco, la tarde sin mañana, y el primer pájaro muerto sobre la rama.

¡Oh guitarra!

Corazón malherido por cinco espadas.

][

[in English]

THE GUITAR

The crying of the guitar begins.

The glasses of dawn are broken.

The crying of the guitar begins.

It is useless to stop her.

It is impossible to stop her.

She weeps endlessly, as water weeps, as the wind weeps over the snow.

It is impossible to stop her.

She weeps for things remote.

The hot southern sands yearning for a white camellia.

A weeping arrow without target, evening without morning, and the first dead bird on the branch.

Ai, guitar!

Heart wounded by five knives.

][

[in Armenian, transliteration]

KIT’ARR

Sksvum e kit’arri lats’y.

Skahakner ein arravotyan kotrel.

Sksvum e kit’arri lats’y.

Anogut e lrrets’nel ayn.

Anhnar e lrrets’nel ayn.

Da lats’ e linum anverj, ayn lats’ e linum jri pes, ayn lats’ e linum nman k’amu nkatmamb dzyan.

Kit’arry artasvum e baneri hamar herravor.

T’yezh haravayin avazner klk’i spitak kamelianeri.

Lats’ e linum mez slak’y arrants’ npatakayin yerekoyan, arrants’ arravotyan, yev arrajin mahats’ats t’rrch’ni masnachyughi.

Ai, kit’arr!

Sirty mahats’u viravorvats e hing danakner.

][

[in Armenian] 

ԿԻԹԱՌ

Սկսվում է կիթառի լացը:

Սկահակներ էին առավոտյան կոտրել:

Սկսվում է կիթառի լացը:

Անօգուտ է լռեցնել այն:

Անհնար է լռեցնել այն:

Դա լաց է լինում անվերջ, այն լաց է լինում ջրի պես, այն լաց է լինում նման քամու նկատմամբ ձյան:

Կիթառը արտասվում է բաների համար հեռավոր:

Թեժ հարավային ավազներ կլքի սպիտակ կամելիաների:

Լաց է լինում մեզ սլաքը առանց նպատակային երեկոյան, առանց առավոտյան, եւ առաջին մահացած թռչնի մասնաճյուղի:

Օ, կիթառ!

Սիրտը մահացու վիրավորված է հինգ դանակներ:

my dear little dead one

12 Saturday Apr 2014

Posted by in Prose

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“I can’t listen to you. I can’t listen to your voice. It’s as though I’d drunk a bottle of anise and fallen asleep wrapped in a quilt of roses. It pulls me along – and I know I’m drowning – but I go on down.”
― Federico Garcia Lorca, Bodas de sangre.

I love the dead because the living spend so much time worrying about them. Plagues come, plagues go; someone flits like a shadow by your open bedroom door; the child of a broken heart discovers a thousand years later that kissing isn’t immoral, degenerate or likely to spread disease. During all that time — you living, you dull creatures — you either worship or fear all those who have gone before you.

“You have to know, sister,” Juan Ramírez de Lucas said, pale and drawn, “you have to know that no one here will show you disrespect. Say what you wish. But will you not sit down? You look very tired.”

The nun — her fingers still smelling of freshly cut ginger, copper, blood — took the offered chair and fixed her eyes upon the one sitting across from her.

“It is this, senior,” she spoke rapidly, lest her courage should freeze in her throat. “He is unhappy. He is in pain. All night long he hears the brute iron and the cocking of rifles. He smells the foul smoke of burning bodies and the shrieking that hides in the throat. It has awakened my dear little dead one.

“When I guarded him with holy water he heard nothing. Back then the fires of the century held no curiosity for him, since the hearts of the living are based upon greed and corruption and hate.

“But one night he came to me, shaking the nail out of his coffin. I awoke but the deviltry had already been done, he was awake, the dear sleep of eternity was stirring. He thought it was his last trump card and he wondered why he was still in his grave. But we talked together and it was not so bad at the first. But, senior, now he is frantic. He is in hell. O, think, think, senior, what it is to have the long sleep of the grave so rudely disturbed? Love? Yes, love called him back from the sleep that he so patiently endured!”

The nun stopped abruptly and caught her breath. Juan Ramírez had listened without change of expression, convinced that he was facing a madwoman. But the travesty wearied him, and involuntarily he stood up as if to leave the room.

“O, senior, not yet! not yet!” panted the nun. “It is of him that I came to speak. He told me that he wished to lie there and listen to the earth and sky and all the secret’s of the sea; so I stopped sprinkling holy water on his grave. But the dead have needs that the living cannot understand; for he, too, your love, is wretched and horror-stricken, senior. He moans and screams. His unmarked grave can never be found. He cannot break out of it. I have heard his frightful word from his grave tonight, senior; I swear it upon the cross.”

Juan Ramírez de Lucas shook from head to foot, staggered from his chair. He was staring at the nun as if she had become the ghost of his dead lover. “You hear him, too?” he gasped.

“He is not at peace, senior. He moans and shrieks in a terrible, smothering way, as if a bony hand were pressing down upon his chest until his ribs crack.”

The young man suddenly recovered himself and dashed from the room. The nun passed her hand across her fevered forehead, as if a terrible dream still remained in the corners of her memory. She stood, facing the door. The living are all cowards when it comes to the great gray shadow that they blithely call death.

I have searched for Hart Crane among the dice of drowned men’s bones. I have wandered Alfacar looking for the fountain of tears. Federico, your body has yet to be discovered. We call the dead back to us but the living have nothing to say.

ballad of black dread, by federico garcia lorca

28 Saturday Sep 2013

Posted by in Poetry, Spanish, Translation

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Frenetic axes of cocks
digging in search of the dawn
when down from the dark foothills
comes Soledad Montoya.
Yellow copper of her flesh
smelling of horses and murk.
Smoky anvils of her breasts,
wailing out rounded songs.
“Soledad, who are you calling for,
all alone, at this hour?”
“Do not worry who it is,
what is this to you, anyway?
I want whatever I want,
my body and my joy.”
“Soledad, dreadful one,
the stallion that runs free
finds at last the sea
only to be swallowed by the waves.”
“Do not speak to me of the sea,
for the black dread surges out
from the land of the olive tree,
under the rustling of its leaves.”
“Soledad, what anguish you have
what horrendous pain!
You wail lemon juice,
bitter from the lips with longing.”
“Ai, what anguish! I drift
around my house,
from kitchen to bedroom,
my braids undone, on the floor.
Ai, what terror! My clothes
and flesh are fading into black.
Ai, my linen nightgowns!
Ai, my poppy thighs!”
“Soledad, wash your body
in skylark water.
Let peace into your heart,
Soledad Montoya.”

Downhill the river sings:
mantle of leaves and sky.
The new light is crowned
in wild pumpkin flowers.
Ai, the pain! Pain of the gypsies,
clean pain from a hidden stream
and from the endless dawn!

—- translation by ZJC

][][

romance de la pena negra

Las piquetas de los gallos
cavan buscando la aurora,
cuando por el monte oscuro
baja Soledad Montoya.
Cobre amarillo, su carne,
huele a caballo y a sombra.
Yunques ahumados sus pechos,
gimen canciones redondas.
Soledad, ¿por quién preguntas
sin compaña y a estas horas?
Pregunte por quien pregunte,
dime: ¿a ti qué se te importa?
Vengo a buscar lo que busco,
mi alegría y mi persona.
Soledad de mis pesares,
caballo que se desboca,
al fin encuentra la mar
y se lo tragan las olas.
No me recuerdes el mar,
que la pena negra, brota
en las tierras de aceituna
bajo el rumor de las hojas.
¡Soledad, qué pena tienes!
¡Qué pena tan lastimosa!
Lloras zumo de limón
agrio de espera y de boca.
¡Qué pena tan grande! Corro
mi casa como una loca,
mis dos trenzas por el suelo,
de la cocina a la alcoba.
¡Qué pena! Me estoy poniendo
de azabache carne y ropa.
¡Ay, mis camisas de hilo!
¡Ay, mis muslos de amapola!
Soledad: lava tu cuerpo
con agua de las alondras,
y deja tu corazón
en paz, Soledad Montoya.

Por abajo canta el río:
volante de cielo y hojas.
Con flores de calabaza,
la nueva luz se corona.
¡Oh pena de los gitanos!
Pena limpia y siempre sola.
¡Oh pena de cauce oculto
y madrugada remota!

ballad of the spanish civil guard, by federico garcia lorca

28 Saturday Sep 2013

Posted by in Poetry, Spanish, Translation

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Black are the horses,
their horses are shod in black.
On their capes glitter
stains of ink and wax.
This is why they do not weep:
their skulls are cut in lead.
They ride the highways
with patent leather souls.
Hunchbacked and nocturnal,
they ride forth and command
the silences of dark rubber
and the fears like fine sand.
They go where they want,
and hide in their skulls
vague astronomical ideas,
amorphous pistols.

Ai, city of gypsies!
Corners hung with colors.
The moon and pumpkins
and cherries in sweet preserve.
Ai, city of gypsies!
Who could see you and not recall?
City of musks and agony,
city of cinnamon towers.

As the night was approaching
the night so deep, dark, nightish,
the gypsies at their forges
were hammering suns and arrows.
A deeply wounded stallion
knocked at each door.
Glass cocks were crowing
in Jerez de la Frontera.
The naked wind, turning
in the silver night, around
the corner with surprise,
in the night so deep, dark, nightish.

The Virgin and Saint Joseph
have lost their castanets.
They are looking for the gypsies
to see if they can help find them.
Here comes the Virgin, dressed
just like the mayor’s wife
in silvery chocolate paper,
with a necklace of almonds.
Saint Joseph swings his arms
beneath a cloak of silk.
Behind comes Pedro Domecq
and three Persian sultans.
The half moon dreamed
out an ecstasy of the stork.
And ensigns and lanterns
stormed the roof tiles.
Hipless dancers sob
in every mirror.
Water and shadow, shadow and water
in Jerez de la Frontera.

Ai, city of gypsies!
Corners hung with colors.
Quell your green lights:
for here come the Civil Guard.
Ai, city of gypsies!
Who could see you and not recall?
Let her be, far from the sea,
with no combs to hold back her hair.

To the celebrated city
they ride two abreast.
The gossip of the everlasting
invades their cartridge belts.
They ride two abreast.
A night of twin shadows in cloth.
The sky, they conclude,
a window full of spurs.

The city, unsuspicious,
unfolding its doors.
40 Civil Guards, to sack
and burn, poured through.
The clocks stopped and the brandy
bottles impersonated November
so as not to stir any suspicion.
Up rose from the weathercocks
a series of long screams.
Sabers slashed the air,
trampling under black horse hoof.
Old gypsy women tried to flee
through the half-lit streets
with their benumbed horses
and enormous crocks of coins.
Up the palisade streets
climbed the sinister capes
leaving behind brief
whirlwinds of scissors.
In the gate of Bethlehem
all the gypsies gathered.
Saint Joseph, mortally wounded,
laid a shroud upon a girl.
Sharp and stubborn, rifle
bursts rang through the night.
The Virgin healed children
with spit from a fallen star.
But the Civil Guard advances,
starting cruel fires
where the naked hope of youth
burns. Rosa, the Comborio,
sits keening at her door
with her mutilated breasts
before her on a tray.
Other girls run in horror,
pursued by their trailing braids,
in a wind exploding
with the roses of black gunpowder.
When all the tiled roofs
have been laid as furrows in the earth,
dawn rocked its shoulders about
in a long silhouette of stone.

Ai, city of gypsies!
The Civil Guard saunters away
through a tunnel of silence
leaving you in flames.
Ai, city of gypsies!
Who could see you and not recall?
Let them find you on my deep brow:
blazon of sand and moon.

—- translation by ZJC

][][

romance de la guardia civil española

Los caballos negros son.
Las herraduras son negras.
Sobre las capes 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.
Jorobados y nocturnos,
por donde animan ordenan
silencios de goma oscura
y miedos de fina arena.
Pasan, si quieren pasar,
y ocultan en la cabeza
una vaga astronomía
de pistolas inconcretas.

¡Oh ciudad de los gitanos!
En las esquinas banderas.
La luna y la calabaza
con las guindas en conserva.
¡Oh ciudad de los gitanos!
¿Quién te vio y no te recuerda?
Ciudad de dolor y almizcle,
con las torres de canela.

Cuando llegaba la noche,
noche que noche nochera,
los gitanos en sus fraguas
forjaban soles y flechas.
Un caballo malherido,
llamaba a todas las puertas.
Gallos de vidrio cantaban
por Jerez de la Frontera.
El viento vuelve desnudo
la esquina de la sorpresa,
en la noche platinoche
noche, que noche nochera.

La Virgen y San José,
perdieron sus castañuelas,
y buscan a los gitanos
para ver si las encuentran.
La Virgen viene vestida
con un traje de alcaldesa
de papel de chocolate
con los collares de almendras.
San José mueve los brazos
bajo una capa de seda.
Detrás va Pedro Domecq
con tres sultanes de Persia.
La media luna soñaba
un éxtasis de cigüeña.
Estandartes y faroles
invaden las azoteas.
Por los espejos sollozan
bailarinas sin caderas.
Agua y sombra, sombra y agua
por Jerez de la Frontera.

¡Oh ciudad de los gitanos!
En las esquinas banderas.
Apaga tus verdes luces
que viene la benemérita.
¡Oh ciudad de los gitanos!
¿Quién te vio y no te recuerda?
Dejadla lejos del mar, sin
peines para sus crenchas.

Avanzan de dos en fondo
a la ciudad de la fiesta.
Un rumor de siemprevivas
invade las cartucheras.
Avanzan de dos en fondo.
Doble nocturno de tela.
El cielo, se les antoja,
una vitrina de espuelas.

La ciudad libre de miedo,
multiplicaba sus puertas.
Cuarenta guardias civiles
entran a saco por ellas.
Los relojes se pararon,
y el coñac de las botellas
se disfrazó de noviembre
para no infundir sospechas.
Un vuelo de gritos largos
se levantó en las veletas.
Los sables cortan las brisas
que los cascos atropellan.
Por las calles de penumbra
huyen las gitanas viejas
con los caballos dormidos
y las orzas de monedas.
Por las calles empinadas
suben las capas siniestras,
dejando atrás fugaces
remolinos de tijeras.
En el portal de Belén
los gitanos se congregan.
San José, lleno de heridas,
amortaja a una doncella.
Tercos fusiles agudos
por toda la noche suenan.
La Virgen cura a los niños
con salivilla de estrella.
Pero la Guardia Civil
avanza sembrando hogueras,
donde joven y desnuda
la imaginación se quema.
Rosa la de los Camborios,
gime sentada en su puerta
con sus dos pechos cortados
puestos en una bandeja.
Y otras muchachas corrían
perseguidas por sus trenzas,
en un aire donde estallan
rosas de pólvora negra.
Cuando todos los tejados
eran surcos en la sierra,
el alba meció sus hombros
en largo perfil de piedra.

¡Oh ciudad de los gitanos!
La Guardia Civil se aleja
por un túnel de silencio
mientras las llamas te cercan.
¡Oh ciudad de los gitanos!
¿Quién te vio y no te recuerda?
Que te busquen en mi frente.
Juego de luna y arena.

ballad of the doomed man, by federico garcia lorca

28 Saturday Sep 2013

Posted by in Poetry, Spanish, Translation

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My fretting solitude!
The small eyes of my body
and the great eyes of my mare
do not shut out the night;
do not gaze faraway to see
a dream of 13 boats
toddle along peacefully.
Instead, as squires at vigil,
are clean and hard.
My eyes look toward the north
to the precipices and metals
where my body of no arteries
consults a frozen deck of cards.

Massive water oxen
charge at the schoolboys
bathing in the moons
of their fermenting horns.
Hammers were singing
on hypnotic anvils
insomnia of rider,
insomnia of horse.

On the 25th of June
they told El Amargo:
“The time has come to cut down
the oleanders out in your yard.
Paint a cross up on your door,
put your name beneath
for nettles and hemlock
will sprout from your haunch,
and needles of dewy lime
will gall through your boots.
When at night, in darkness,
over magnetic hillocks
where the water oxen
dreamily drink up the reeds.
Ask for the candles and bells.
Learn how to cross your hands
and taste the numbing winds
of precipices and metals:
for in two months from now
you will lie under a shroud.”

Santiago swings his sword,
astral, stellar, across the sky.
Dismal silence flows
out of an arching heaven.

On the 25th of June
El Amargo opened his eyes,
on the 25th of August
he lay down and closed them tight.
Men were bustling about the street
to see the man who was to die,
who fixed against the wall
his solitude, now feckless.
And the righteous sheet,
with its hard dactyl of Rome,
gave self-restraint to death
by the straightness of its edges.

—- translation by ZJC

][][

romance del emplazado

¡Mi soledad sin descanso!
Ojos chicos de mi cuerpo
y grandes de mi caballo,
no se cierran por la noche
ni miran al otro lado
donde se aleja tranquilo
un sueño de trece barcos.
Sino que limpios y duros
escuderos desvelados,
mis ojos miran un norte
de metales y peñascos
donde mi cuerpo sin venas
consulta naipes helados.

Los densos bueyes del agua
embisten a los muchachos
que se bañan en las lunas
de sus cuernos ondulados.
Y los martillos cantaban
sobre los yunques sonámbulos,
el insomnio del jinete
y el insomnio del caballo.

El veinticinco de junio
le dijeron a el Amargo:
Ya puedes cortar si gustas
las adelfas de tu patio.
Pinta una cruz en la puerta
y pon tu nombre debajo,
porque cicutas y ortigas
nacerán en tu costado,
y agujas de cal mojada
te morderán los zapatos.
Será de noche, en lo oscuro,
por los montes imantados,
donde los bueyes del agua
beben los juncos soñando.
Pide luces y campanas.
Aprende a cruzar las manos,
y gusta los aires fríos
de metales y peñascos.
Porque dentro de dos meses
yacerás amortajado.

Espadón de nebulosa
mueve en el aire Santiago.
Grave silencio, de espalda,
manaba el cielo combado.

El veinticinco de junio
abrió sus ojos Amargo,
y el veinticinco de agosto
se tendió para cerrarlos.
Hombres bajaban la calle
para ver al emplazado,
que fijaba sobre el muro
su soledad con descanso.
Y la sábana impecable,
de duro acento romano,
daba equilibrio a la muerte
con las rectas de sus paños.

the riddle of the guitar, by federico garcia lorca

28 Saturday Sep 2013

Posted by in Poetry, Spanish, Translation

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At the round
crossroads,
6 maidens
dance.
3 of flesh,
3 of silver.
Dreams from yesterday pursue them,
but they are held fast by
a Polyphermus of gold.
Ai, the guitar!

—- translated by ZJC

][][

adivinanza de la guitarra

En la redonda
encrucijada,
seis doncellas
bailan.
Tres de carne
y tres de plata.
Los sueños de ayer las buscan
pero las tiene abrazadas
un Polifemo de oro.
¡La guitarra!

hush, baby, hush, by federico garcia lorca

28 Saturday Sep 2013

Posted by in Poetry, Spanish, Translation

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Hush, baby, hush.
Dream of a great black stallion
that would not drink the water.
Wouldn’t drink the water.
The water was black
under the branches.
Under the branches
the water was black.
Under the bridge
it stopped and sang.
Who can say, my baby,
of the water’s pain?
Of the water’s pain
who can say?
As it draws its long tail
through deep green room …

][][

Nana, niño, nana
del caballo grande
que no quiso el agua.
El agua era negra
dentro de las ramas.
Cuando llega el puente
se detiene y canta.
¿Quién dirá, mi niño,
lo que tiene el agua
con su larga cola
por su verde sala …

sleep, sleep my little rose, by federico garcia lorca

28 Saturday Sep 2013

Posted by in Poetry, Spanish, Translation

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Sleep, sleep my little rose,
for the horse now starts to weep.
The hooves are all red with blood,
and all its horsey hair frozen.
And deep within its eyes
rests a broken silver dagger.
Down they went to the river’s edge.
Ai!, how they went down!
And its blood ran faster
than the running water.

—- from the drama Blood Wedding, translation by ZJC

][][

Duérmete, rosal,
que el caballo se pone a llorar.
Las patas heridas,
las crines heladas,
dentro de los ojos
un puñal de plata.
Bajaban al río.
¡Ay, cómo bajaban!
La sangre corría
más fuerte que el agua.