In Chus Pato's poems, language is a cognitive-emotive artefact, and
this in every living sense of the word: explosive. Her language
welcomes cognition's pathways, and stylizes history, literature,
myths of origin, lineage, friendship, and the realities of
nationalism in one huge breath. When her poems foreground elements
of Galician culture and reality, these turn out not to be private
and enclosed, but elements of our reality too. She explodes forms,
explodes the lyric and what lyric possibility is (races it onward
in prose poems, invents avatars that bear the place of the I: the
she-author, Horda, Brenda, ), engages myth as active in the present
tense. In her various works, Ashurbanipal's library at Nineveh
still exists, cuneiform is readable, Ophelia speaks Galician. In
"Charenton", Pato presents the locale of Weiss' Marat/Sade as a
play of shadows, light, beauty and intensity that enacts Galician
being and the agonies of its history, and of a woman writer in whom
this history is chiselled. Its language is lucid, fervent,
beautiful: Chus Pato's "Charenton" is not just Galicia, it is
Earth, our earth too.
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