Cain's Book

Alexander Trocchi is one of those cult authors - never quite reaching the mainstream, but beloved and well-respected. Cain's Book  is one of those cult books - like Valis - which is seen as a grand statement of intent, embodying both Trocchi's philosophy and a bold, unflinching examination of human nature and society. He stares at his own heroin addiction, ponders the sanctity of work in a mechanised society, and recalls episodes from his childhood.

Untitled Projects, of whom we sing
Use the words like a piece of string
Pulled out long
The intent strong
Less of a play, more a whole 'nother thing

Alexander Trocchi is one of those cult authors - never quite reaching the mainstream, but beloved and well-respected. Cain's Book  is one of those cult books - like Valis - which is seen as a grand statement of intent, embodying both Trocchi's philosophy and a bold, unflinching examination of human nature and society. He stares at his own heroin addiction, ponders the sanctity of work in a mechanised society, and recalls episodes from his childhood.

Untitled Projects, of whom we sing
Use the words like a piece of string
Pulled out long
The intent strong
Less of a play, more a whole 'nother thing

At their best, they are ecstatic
The focus thoughtful and emphatic
Cerebral or dry
The meaning so wry
Fits in the box labelled post-dramatic

Alexander Trocchi is one of those cult authors - never quite reaching the mainstream, but beloved and well-Cain's Book  is one of those cult books - like Valis - which is seen as a grand statement of intent, embodying both Trocchi's philosophy and a bold, unflinching examination of human nature and society. He stares at his own heroin addiction, ponders the sanctity of work in a mechanised society, and recalls episodes from his childhood.
respected.


Three performers play Trocchi's alter-ego, Joe Necchi. Episodes of maternal love jostle with scenes from the New York drug scene. One time, children are dressed as Necchi's junkie circle, in a series of photographs set a voice-over (the drugs replaced by coca-cola bottles and their highness signified by sunglasses. It's sweet and cute).

Untitled Projects, of whom we sing
Use the words like a piece of string
Pulled out long
The intent strong
Less of a play, more a whole 'nother thing

At their best, they are ecstatic
The focus thoughtful and emphatic
Cerebral or dry
The meaning so wry
Fits in the box labelled post-dramatic

They aren't afraid to repeat the lines
Revisit the same scene several times
Dancers appear
Audiences leer
Emotion hides behind sardonic signs

He stares at his own heroin addiction, ponders the sanctity of work in a mechanised society, and recalls episodes from his childhood. Three performers play Trocchi's alter-ego, Joe Necchi. Episodes of maternal love jostle with scenes from the New York drug scene.

One time, children are dressed as Necchi's junkie circle, in a series of photographs set a voice-over (the drugs replaced by coca-cola bottles and their highness signified by sunglasses. It's sweet and cute). Slight shifts in emphasis read and reread the meanings - Necchi's desperation to escape addiction building and building as the years waste away.


Untitled Projects, of whom we sing
Use the words like a piece of string
Pulled out long
The intent strong
Less of a play, more a whole 'nother thing

At their best, they are ecstatic
The focus thoughtful and emphatic
Cerebral or dry
The meaning so wry
Fits in the box labelled post-dramatic

They aren't afraid to repeat the lines
Revisit the same scene several times
Dancers appear
Audiences leer
Emotion hides behind sardonic signs

Part three begins with a cunning twist
Guitar, bass drums in a sonic fist
The Smack Wizards rage
Music takes the stage
And anger's added to the stage

Cain's Book  is one of those cult books - like Valis - which is seen as a grand statement of intent, embodying both Trocchi's philosophy and a bold, unflinching examination of human nature and society. Although Alan McKendrick's adaptation uses film, audio, dance - alongside a gentle, story-telling style adaptation of the source text, it emphasises the dull ennui of the junkies life, using repetition and long, languid longueurs.

Trocchi's irritation at straight aside comes through both his introverted monologues and tales of his pals. The treacherous alliances of the subculture are pitched against the threat of the man. The melancholic ending slides easily from a moving memory of maternal love into a sing-along about the rising river of shit that engulfs us all.

Untitled Projects, of whom we sing
Use the words like a piece of string
Pulled out long
The intent strong
Less of a play, more a whole 'nother thing

At their best, they are ecstatic
The focus thoughtful and emphatic
Cerebral or dry
The meaning so wry
Fits in the box labelled post-dramatic

They aren't afraid to repeat the lines
Revisit the same scene several times
Dancers appear
Audiences leer
Emotion hides behind sardonic signs

Part three begins with a cunning twist
Guitar, bass drums in a sonic fist
The Smack Wizards rage
Music takes the stage
And anger's added to the stage

Ross Mann, Lou Pendergrast, Ian Hanmore
Play in turns the man who likes to score
Horse, LSD, dope
distrust, boredom, hope
Deserve the shouts from the crowd 'encore.'


Three performers play Trocchi's alter-ego, Joe Necchi. Episodes of maternal love jostle with scenes from the New York drug scene. The methodology - carefully placing each element in its own segment, so video follows acting follows dance follows Smack Wizard mini-gig - encourages a meditative, reflective reception.

I remember the first time that I saw post-dramatic theatre. I didn't really understand but I have learnt... not to the privilege emotional impact over the possibilities offered for thinking about... sliding away...