Eckhard Gerdes's Cistern Tawdry, like Laurence Sterne's Tristram Shandy, offers verbally explosive, energetic, hyperbolic language rich in typographic play and Futurist enunciations of words immediately losing themselves by means of implosion, cancellation, reversal, playback, reverb, dissonance, echo, discord, and overlap, as they dance the parole in liberta, or the page as field of action. Here, word, letter, diagram, picture, photo-collage and image inter-connect in what can be read as a deliberately post-modern, even McLuhanist-inspired style.
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