The acute critical awareness of Cristina Peri Rossi, like that of her compatriot Eduardo Galeano, coexists with the non-negotiable desire for aesthetic renewal that her books ooze. Hence link all the springs of the real and the allegorical reiterating the dominant motifs in his work: language, play, sexuality, eroticism, childhood, the sensorial, the instinctive, the unfinished, the fragmentary and the digressions, capital spring in ‘The book of my cousins’ (1964). Cervantes has fallen on a lucidly ironic writer who does not understand genres because her cadence sometimes needs prose and other times, poetry.
Peri Rossi has made exile and transgression the fruitful duality that strains his language. And he has filled it with a childish and nostalgic look as if that were the only way to recover a lost world. The deep symbolic charge of his imaginary prefigures the liberation that his characters eagerly seek. Liberation that reaches the language, exuberant in its sensitivity, rhythmic in its textures and hedonistic in its impulse. The pleasure of the text that Roland Barthes claimed turns in his hands into an erotica of language that configures a literature without prejudice, confronting, as Cernuda wanted, reality with desire.