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GRANTS AND FELLOWSHIPS

National Endowment for the Arts, 1978

Bush Foundation Fellowship, 1978
Minnesota State Arts Board, Individual Artists’ Grant, 1982

WRITING

BOOKS:

ROMANCE DE AGAPITO CASCANTE, San Jose, Costa Rica, 1955. Ediciones Repertorio Americano, Joaquín Garcia Monge, Editor. (Book-length narrative poem)

THE GATHERING WAVE, Denver, 1961, Poets in Swallow Paperbacks, Alan Swallow Publisher. (48 haiku with original drawings) “Some of the richest examples of haiku art I have seen,” Robert Beum in Prairie Schooner. “A few years from now collectors will be looking for this book,” Chicago Tribune. “Some of the best ever written,” Thomas McGrath, The National Guardian.

THE FLESH OF UTOPIA, Denver, 1964, Alan Swallow Publisher. (Poems, hardbound)

MENASHTASH, Santa Barbara, California, 1969, The Little Square Review, John Ridland, Editor. (Bilingual poems with original drawings)

AGAPITO, New York, 1969, Charles Scribners’ Sons. (Elegy in prose form) “This is a book to be read in one sitting of infinite enjoyment,” TV and Fine Arts Magazine, L. A. “…this evocative celebration of the sensuous wonders of childhood is close to both music and poetry… full of delight, warmth, and grace.” Library Journal.

WORDS ON PAPER, Fairfax, California, 1973, Red Hill Press. (Poems with an original drawing) “Cardona-Hine’s voice is lyrical, contemporary, ancient, elegiac. The distinctive mark is a compassionate music. The longer poems, particularly, develop modulations of sound moving from cries to solemnities to whispers….At the risk of sounding pompous I’d say that Cardona-Hine’s best poems satisfy me, as great writing of the past –vatic, profound– affects and satisfies me.” Dr. Robert Peters, Margins. “Cardona-Hine is far more tuned to silence than Eliot; there are no phases to his theology. He offers no disciplines, not even Zen vacancies; he offers arrivals: ‘When are your eyes going to cloud over with desire?’ He was born in San Jose, Costa Rica, but we would not know that Spanish is his native tongue. Nor is the influence of Spanish poetry evident. The reader may subliminally register Lorca or Vallejo but he can’t locate them in the poems. The short lines, the resonance, the clear images lead to a consideration of Williams or Japanese influence, but again that does not seem to matter or help.” Benjamin Saltman, Kayak. “I have written more than once of how highly I value the work of Alvaro Cardona-Hine. It is always exciting and surprising and each new book is really new in that it always seems to exhibit a way of seeing and saying that is different from the last. This is no restless search for novelties or the inability to arrive at a style but a true search into language to find more precise or expressive ways for transcribing a visionary awareness of himself and his world –and what a broad and often strangely new-old world it is!” Thomas McGrath, Dacotah Territory.

SPAIN, LET THIS CUP PASS FROM ME, Fairfax, California, 1974, Red Hill Press. (Translation of Cesar Vallejo’s book España, Aparta de mi este caliz)

TWO ELEGIES, Fairfax, California, 1978, Red Hill Press. (Bilingual book-length poems, one each by Alvaro Cardona-Hine and his half-brother Alfredo Cardona Peña, on the death of their father)

THE HALF-EATEN ANGEL, Minneapolis, Minnesota, 1981,The Nodin Press. (A reprint of Agapito together with its sequel entitled TUNA)

MISS O’KEEFFE, Albuquerque, New Mexico, 1992, The University of New Mexico Press. (Biography dealing with O’Keeffe’s last years, written in collaboration with one of her nurses)

FOUR POEMS ABOUT SPARROWS, Cordova, New Mexico, 1994, Eyelight Press, Terry Mulert Editor. (Chapbook) “Alvaro Cardona-Hine has considered sparrows. The perfect response to that which inspires is usually homage of one sort or another. The Truchas poet, painter and composer has done just that by producing an engaging chapbook….” Ruth Lopez, The New Mexican.

A HISTORY OF LIGHT, Santa Fe, New Mexico, 1998, Sherman Asher Publishing. (Memoir) “…resonates with love, but you’ll find no cliches or gushing, greeting card phrases here. Cardona-Hine is a poet, music composer and painter…with a vision all his own, describing the ‘wedding dress whiteness’ of teeth, a dress made of material ‘as light as beaten egg whites’ and a library that ‘smells like the back of a quiet clock, opened up to reveal its gears.’ Don’t miss the experience of reading this poignant book.” Lynn Cline, The New Mexican. “Cardona-Hine documents his love with a universal appeal, and he creates some truly stunning imagery: ‘Your face has freckles, as if it had lain a whole night exposed to the elements and your skin had photographed the stars.’ Written with all the uncanny sensuality of a fever dream, A History of Light lends itself to anyone who learned about love before they knew they were ready.” Weekly Alibi. “Cardona-Hine… reminds me of the elder Pablo Neruda whose artless language disentombs the magic of childhood.” The Bloomsbury Review.

THIRTEEN TANGOS FOR STRAVINSKY, Santa Fe, New Mexico, 1999, Sherman Asher Publishing. (Memoir) “This memoir excels so exquisitely in its use of language that the actual storytelling is almost secondary. For example, the writer describes growing up like this: ‘One by one the childhood candles go out, with only the wax dripping down to basement cores of recollection.’ This memoir is… asking to being immersed in the prism world of dazzling, shifting light…” Ann Peterpaul, Weekly Alibi. “Beautifully written poetry in prose form, Cardona-Hine’s delightful reminiscences make the reader pause to admire unexpected combinations of words and images like those of Borges.” Roberta Gordenstein, Catholic Library World.

SPRING HAS COME, Albuquerque, New Mexico, 1999, Alameda Press. (Translations of pre-Renaissance Spanish poetry with cover painting by author) “Cardona-Hine has translated lyrical poetry from the Spanish Renaissance to make exquisite verse available to the contemporary reader. In his excellent introduction, the translator proposes the original idea that many of these lyrics were not only written in women’s voices but actually by women. Cardona-Hine’s own power as a poet shines through every translation.” Miriam Sagan, New Mexico Magazine.

ORPHEUS HOME, FRANKENSTEIN IN LOVE, CUCARACHANANDA, three novels about Costa Rica, XLibris, Philadelphia, PA. 2004.

SUCURSAL DE ESTRELLA, 50 years of Cardona-Hine’s poetry written in Spanish. Editorial Catriel & University of New Mexico Press, Madrid, Spain & Albuquerque, NM. 2006.

CLARIDADES, Editorial Catriel, Poems in Spanish. Madrid, Spain. 2007.

THE CURVATURE OF THE EARTH, poems by Gene Frumkin & Alvaro Cardona-Hine,University of New Mexico Press, Albuquerque, NM. 2007.
ANTHOLOGIES:

AMERICA SINGS, Los Angeles, California, 1946, Anthology of College poetry.

SEASONS OF POETRY, Los Angeles, California, 1957, Anthology from the Writers’ Workshop, Stanley Kurnik Editor, First Unitarian Church.

NEW ORLANDO POETRY ANTHOLOGY Vol. 2, Greenwich Village, New York, 1963.

POETS OF TODAY, New York, N. Y., 1964, International Publishers, Walter Lowenfels Editor.

SAN FRANCISCO RENAISSANCE, Eleven Modern American Poets, Denmark,1964,
Cirius.

SUR, Joven Literatura Norteamericana, Buenos Aires, Argentina, 1970.

SPECIMEN 73, Pasadena, California, 1973, Pasadena Museum of Modern Art. Paul Vangelisti Editor.

THE CONTEMPORARY WORLD POETS, New York, N. Y., 1976, Harcourt, Brace, Jovanovitch. Donald Junkins Editor.

THE OTHER SIDE OF A POEM, New York, N. Y., 1977, Harper & Row, Publishers. Barbara Abercrombie Editor.

IF DRAGON FLIES MADE HONEY, New York, N. Y., 1977, Greenwillow Books. David Kherdian Editor.

BROTHER SONGS, A Male Anthology of Poetry, Minneapolis, Minnesota, 1979, Holy Cow! Press. Jim Pearlman Editor.

THE PUSHCART PRIZE, IV, Best of the Small Presses, Yonkers, N. Y., 1979, The Pushcart Press. Bill Henderson Editor.

25 MINNESOTA WRITERS, Minneapolis, Minnesota, 1980, The Nodin Press, Inc. Seymour Yesner Editor.

WALT WHITMAN, The Measure of his Song, Minneapolis, Minnesota, 1981, Holy Cow! Press. Jim Pearlman & Dan Campion Editors.

HISPANICS IN THE UNITED STATES, An Anthology of Creative Literature, Vol. II, Ypsilanti, Michigan, Bilingual Review Press. Francisco Jimenez & Gary D. Keller Editors.

DACOTAH TERRITORY, A 10 Year Anthology, Fargo, North Dakota, 1982, North Dakota Institute for Regional Studies, Fargo. Mark Vinz & Grayce Ray Editors.

THE POET DREAMING IN THE ARTIST’S HOUSE, Minneapolis, Minnesota, 1984, Milkweed Editions. Emilie Buchwald & Ruth Roston Editors.

NEW MEXICO POETRY RENAISSANCE, Santa Fe, New Mexico, 1994, Red Crane Books. Sharon Niederman & Miriam Sagan Editors.

WRITTEN WITH A SPOON, Santa Fe, New Mexico, 1995, Sherman Asher Publishing.

THE OPEN ROAD, Walt Whitman on Death and Dying, Mesa, Arizona, 1996, Four Corners Editions. Joe Vest Editor.

HAIKU WORLD, An International Poetry Almanac, Tokyo, Japan, 1996, Kodansha International. William J. Higginson Editor.

XY FILES, Poems on the Male Experience, Santa Fe, New Mexico, 1997, Sherman Asher Publishing. Judith Rafaela & Nancy Fay Editors.

CHOKECHERRIES 1998, A S.O.M.O.S. Anthology, Taos, New Mexico, 1998, Society of the Muse of the Southwest. Lorraine Lener Ciancio Editor.

THE PRACTICE OF PEACE, Santa Fe, New Mexico, 1998, Sherman Asher Publishing. Judith Rafaela & Nancy Fay Editors.

POETRY AND PROSE:

Individual poems and stories have appeared in the following selection of magazines and periodicals:

The Nation, Kayak, Prairie Schooner, Poetry Northwest, San Francisco Quarterly, Epos, Renaissance, Trace, Chicago Choice, Coastlines, Quicksilver, Ann Arbor Review, New Mexico Quarterly, Dacotah Territory, Bear, Crazy Horse, Ante, Dion, Poetry Review Tampa, Burning Water, Miscellaneous Man, Apple, Orion Magazine, Ironwood, Milkweed Chronicle, Mainstream, Poetry Digest, Odyssey Magazine, The Galley Sail Review, The National Guardian, Poetry Northwest, Cafe Solo, The Lamp in the Spine, Monument , Invisible City, Measure, Abraxas, UT Review, Mouse River Review, Gulf Coast.

THEATRE:

WALLS AND WIND, Play in One Act, 1961, Presented at the First Unitarian Church, Los Angeles, California.

THE NIGHT OF THE HUGE BIRDS, Play in Nine Episodes, 1966, Read at the Los Angeles Repertoire Theatre, Los Angeles, California

IMPROVISATION FOR EYELID, Play in One Act, 1969, Read at the Evergreen Theatre, Los Angeles, California.
MUSIC AND TEXTS FOR MUSIC

CONTERA EN TRES PARTES PARA ORQUESTA DE CUERDAS: (Three Movement Composition for String Orchestra) Performance at Teatro Ocampo, Mexico City. The Student Orchestra of the Autonomous University of Mexico under the composer’s direction. 1950.

THREE SONGS FOR CHILDREN: (for Soprano with Piano accompaniment) Text by D. H. Lawrence, awarded first prize in contest sponsored by the Women’s Clubs of Washington State. 1956.

MAN IS MY SONG: Text for Easter Cantata commissioned by the First Unitarian Church of Los Angeles. Music by Lowndes Maury. Performances in 1963 and 1964. Broadcast over radio station KFAC.

FOUR ELEMENTAL SONGS: Text for songs commissioned by composer Lowndes Maury. Peformed at Loyola University, Los Angeles. 1967.

CONCERTO FOR ENGLISH WORDS, BRASS AND PERCUSSION: Text commissioned by the University of Montana. Music by Lowndes Maury. Performed at Montana University. 1970.

SONATA FOR VIOLIN AND PIANO: Performed by Alvaro M. Cardona and Edith Orloff. St. Mary’s College, Los Angeles, California. 1974.

FLUTE TRIO: Performances at the Pasadena Museum of Modern Art and at Beyond Baroque, Venice, California, by Georgia Alwan, Betty Braunstein and Lenora Warkentin. 1974.

PIECE FOR VIOLIN AND PIANO: Commissioned by Dylana Jenson. Performed at the Organization of American States, Washington D. C., by Dylana Jenson and Varda Stein. 1975.

AIR FOR THE VIRGINAL OF DANIEL LLOYD: Commissioned by Daniel Lloyd, performed at the Minneapolis Institute for the Arts, Minneapolis, Minnesota. 1984 & 1988.

STRING QUARTET #1: Performed by the Groveland String Quartet, Bakken Museum, Minneapolis, Minnesota. 1984.

WHERE NETS ARE LAID: Song Cycle for contra-tenor and string quartet on Texts by J. M. Synge, performed at the Bakken Museum, Minneapolis, Minnesota. 1984.

PETIT MIROIR; Piano piece in three movements, performed by David Pearl at The Hanson Place Central United Methodist Church, Brooklyn, New York on May 19, 1991, and at the Santuario de Guadalupe Church in Santa Fe, New Mexico, on August 10, 1991.

WHERE NETS ARE LAID: (Rewritten) Song Cycle for tenor with flute, clarinet, violin, cello and piano accompaniment on Texts by J. M. Synge, commissioned by the Twentieth Century Unlimited concert series and performed at the St. Francis Auditorium, Santa Fe, New Mexico, June 23, 2001. “Cardona-Hine’s “Where Nets Are Laid,” a setting of eight poems by J. M. Synge, reflected a fine sensitivity to the text in settings of free tonality and fluid lines.” Joanne Sheehy Hoover, Albuquerque Journal, 6/25/01.

WHERE NETS ARE LAID, new version. Song cycle for tenor, flute, clarinet, violin, cello and piano, commissioned by the Twentieth Century Unlimited concert series. Performance at the St. Francis Auditorium in Santa Fe, Jjune 23, 2001. Performers were Jonathan Mack, tenor, and the California Ear Unit. The Albuquerque Journal in a review said, “Cardona Hine’s Where Nets Are Laid, a setting of eight poems by J.M. Synge, reflected a fine sensitivity to the text in settings of free tonality and fuild lines.”

WHERE NETS ARE LAID, Four songs from the cycle performed at York College, Pennsylvania, on Oct. 31, 2004, by members of the faculty.

SONATA FOR VIOLIN AND PIANO, performed at York College, Penn. on Oct. 30, 2005, by Melvin Baer, violin, and Kenneth Osowski, piano.

PAINTING

ONE-MAN SHOWS:

Chatterton Gallery, Los Angeles, California. 1974.

Beyond Baroque Foundation, Venice, California. 1975.

Gunkelman’s, Minneapolis, Minnesota. 1979.

University of Wisconsin, River Falls, Wisconsin. 1980.

School of Associated Arts, Saint Paul, Minnesota. 1982.

The Bakken Museum, Minneapolis, Minnesota. 1984.

Cecile Moochnek, Santa Fe, New Mexico. 1985.

Artbanque, Minneapolis, Minnesota. 1986.

Two Designing Women Gallery, Collinsville, Connecticut. 1991 and 1992.

The Lynn Gallery, Truchas, New Mexico. 1994, 1995.

Strecker Gallery, Manhattan, Kansas. 1994.

McAllen International Museum, McAllen, Texas. 1996.

Evening Star Gallery, Old Mesilla, New Mexico. 1997.

GROUP SHOWS:

Spring Invitational Show, C.G. Rein Gallery, Santa Fe, New Mexico. 1987.

Santa Fe Festival of the Arts, Santa Fe, New Mexico. 1987.

Jack Meier Gallery, Houston, Texas. 1992

The Heritage Gallery, Los Angeles, California. 1992.

The Bixler Gallery, Stroudsburg, Pennsylvania. 1992.

Gallery 1144, Midland, Texas. 1994.

Voorhees Sperry Gallery, New Orleans, LA. 1994.

University of Northern Colorado, Greeley, CO. 1997.

Manitou Gallery, Santa Fe, NM. 2004.

University of Indiana, Fort Wayne, IN. 2006.

Rick Moore Fine Art, Naples, Florida. Continuing show.

SELECTED COLLECTIONS:

University of Minnesota, Minneapolis, Minnesota.
Brooks/Collier Architects, Houston, Texas.
WCCO Television, Minneapolis, Minnesota.
Abbot Northwestern Hospital, Minneapolis, Minnesota.
KKE Architects, Minneapolis, Minnesota.
Honeywell Corporation, Minneapolis, Minnesota.
Emilio Ferrari, Zurich, Switzerland.
J. E. Prins, Delft, The Netherlands.
Elja Kuorikoski, Helsinski, Finland.
Cathy Guisewite, Los Angeles, California.
Bonnie Bedelia, Los Angeles, California.
Dan Hazelton, Paris, France.
Cecilia de Coronado, San Jose, Costa Rica.
Dennis Troute & Maria Sekles, Washington D. C.
Josette Pellet, Montreux, Switzerland.
R. C. Gorman, Taos, New Mexico.
James & AnneAdare Denkins, Boca Grande, Florida.
Kneji Hosakawa, Kurashiki City, Japan.
Dylana Jenson, David Lockington, Grand Rapids, Michigan.