"Cronin's remaking, re-envisaging, re-creation of Cesar Vallejo's
astonishing masterpiece Trilce enables a re-imagining of many of
Vallejo's lifelong obsessions: childhood, the family unit, poverty,
injustice and the anarchic joy of language. Just as in Vallejo
there is an intimate self-exposure taking place alongside and
within the disruption of language. The social structures that
marginalise people and their experiences are seen as embodied in
the language structures and conventions rigidified in traditional
poetic and prosaic structures. Cronin, just like Vallejo, seeks to
break both open. All the levels of life-the banal, the most
elevated, the erotic, the pragmatic- collapse into each other. A
joyous sense of multiple voices liberates the poetic from tired
patterns: "All these things we use for walls/ when the walls fall
down!" (XVIII). Much of Cronin's play with Vallejo's 1922
experimental sequence originates in the gender difference between
herself and Vallejo and the humour to be found in male-centred
assumptions. A Ticket to Trilce provides admission to a private
female stocktake of an early 20th Century classic in a contemporary
Australian setting. A lover of Vallejo herself, Cronin provides us
with a passport to another version of his great vision." -Peter
Boyle
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