Toledana and La mala hora), but also because it's a significant relationship between poetry and cinema. Personally, I have also written poems based on films (published in Steemit) and that attracts me to this book.
Something I noticed the moment I read the book is that Chocrón does not recreate the film, but rather, from some element of it, creates the poem that speaks for itself. A very clear example of this is the one written from The Purple Rose of Cairo, where the lyrical voice reflects and imagines death, which in the film is an existential metaphor.
Thank you for bringing us that magnificent book of poetry from the cinema of Sonia Chocrón, @nancybriti. When I read it a few years ago, I really enjoyed it, not only because it's quality poetry (her previous books are
Very good post, also pleasantly illustrated! Greetings, @nancybriti.
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