“The cursed act”, by Odalís G. Pérez: An ontological look.

In the current socio-political, economic, cultural and educational context of the Dominican nation, what does the word refer us to? damned? There is “accursed love”, there are “accursed” painters, there are “accursed poets”, there are “accursed speeches”.

The “damn” will have a semantic value, depending on where the word is framed or located, within the syntagmatic enunciation.

In this case, this term goes beyond the meaning values ​​that we have raised, because it is a concept that involves a fictional action, linked to the imaginary of some subjects that interact as an active part in this narration.

I am referring to the sayings that the author subject (OdalisG. Perez), gives us this time in one of his most recent literary productions (“The cursed act”. Ramón Saba Edition. Style correction made by Leibi Ng. The illustrations are by OdalísG. Perez. Printer Soto Castillo, S A. 102 pages.).

Following in the footsteps of “the cursed”, in the Judeo-Christian Bible, in Galatians1:8-9tells us the following:

“But if even we, or an angel from heaven, preach any other gospel to you than what we have preached to you, let him be accursed. “.

That is not the “damn” that runs in these narratives either, because here, the spiritual and the beliefs in the phantasmagoric and the afterlife, seek an approximation to the spiritual, from the thinking of the Being and its destiny.

From a brief narrative, the narrator uses the everyday, irony and the supernatural, to expose his visualizations to the reader, as part of his imagination and his life, within the world of the tangible.

Regardless of the origin of the “curse”, Here we have a narrator who integrates himself into the scene and enters the scene of the characters, makes them his own, enters into trust with them, makes them part of his dialogue and his neighborhood, to make each narrative act an action. vital, an action to recreate its scenes, with a certain jocularity, from the absurd.

The oneiric surrounds a large part of the narrative planes, in these stories. And it is that “the dream” goes together with “the cursed”, as a necessary part for the construction of the hope towards the future, the wait, themorningtheparadisethe construction of the future of the subject, his attachment to the arrival of newpanoramas.

In each of the stories, the characters are people from the “fifth patio”, oftheofafeetwhich swarm in their multiple labyrinths, fixing their non-living in each space.

The man and his ruptures, is placed in each narration of this “accursed narration”, from a metaphorical discourse, as if in the end it were a fucking prose poemredefined by spaces, dialogues and the game with the verbal tenses that constitute the architectural corpus of this work.

damn it It refers us to the mystery of feeling ourselves, as readers, being part of the framework that surrounds each of these narratives, although we find some endings that deserve another look, another reading, to penetrate their expressive and plot correlate.

As much as he narrates or tells us, it is the poet who flows. His aesthetic of Being, is the one that predominates in that narrative voice that probes the axes of participation of the narrator-witness that is imposed in this work. Let’s see:

“Think while staring at a luminous point on the horizon. You take a deep breath. You close and open your eyes. It is the same seascape, but the mist surrounds you. You wake up looking at the same point, only now you enter the darkness of that sea that hugs you, and takes you and brings you. And you sleep in it, you float in it without taking your eyes off that strange point on the horizon”.

See story “horizon point“, p. 13, work cited.

Someone tells us and we can respond to that someone, because their saying even makes us laugh. It really is a damn narration from the brief, with the marked intention of widening the provocation to follow what is narrated, from its reading.

I can not sentence here that it is the “best” storyteller of his group of writers, no. But I can warn you that it has been a human misery and of the State, not assuming the moral and civic responsibility of already recognizing the creative potential of the author of these narrations.

I admit my academic and critical slip, before this writing. Returning to the work, I see that “The cursed act” induces the loss of the reader’s logical reflections, there is the example, it made me transpose my senses to the field of the inexplicable. When reading this work, take care of yourself, so that you are not dragged into its world of magic, ghosts and galipotes.

There is here a narrative discourse based on the passage of the Being, as a subjective entity, clinging to the destiny of its existence, in permanent construction of new paths, without being able to escape from that cursed atmosphere that is consubstantial to our living.

Life, death, spirituality, looking and thinking of the other and investigating the origin of our existential paradigms, are the fundamental tangents of this narration.

In the background of this account of facts, it is philosophy, as a way of life and belief of the subject, which will mediate in this creative discourse, in this case, a philosophizedamned that, contrary to the image of evil, proclaims an apprenticeship towards the regeneration of the Being.

“The cursed act”, by Odalís G. Pérez: An ontological look.