Emotional Labyrinth

The human mind is part of God s infinite intelllect. - Baruch Spinoza REPRESENTATION LABYRINTH SACRIFICIAL FROM ONE EXPERIENCE The important thing is not what they make of us, but what we ourselves do of what others made of us. Jean-Paul Sartre When Evan do Carmo has sent me his book, I say nothing about his tenor. Size of its kind. Immediately some riddles arose: What labyrinth is that? What is these emotions about? When I opened it I realized that it was a novel and soon the will to leaf through it has come. In the end, if I was not a great connoisseur of his work, but an insuspecting admirer of his writing, I did not try, I was troubled to devour the book, or better, read it as soon as possible, with the viciousness of a sphinx before the pilgrim without the due response. Suddenly I realized that the labyrinthine structure created by Evan do Carmo would not have as a setting the Palace of Knossos, but the city of Rio de Janeiro, in a very significant post-war period. And I would not bring as main characters Perseus and Ariadne, but men and women of flesh and blood, of memories and forgetfulness, whose stories are built in a long thread of existence, constituted by ballasts of family affections in which every discovery there is a sacrificial representation, in the minotaur monster , but the human existence itself. The narrative constructed by Evan do Carmo acquires a dramatic aspect, although it keeps a sensitive tone of maternal neck. This is the primordial (and main) feature exalted (or would it be brush stroke?) in this Emotional Labyrinth. The Evanian characters realize their own existences in a daily experience with their innermost and intrinsic emotions, with their faults and shortcomings, with their dreams and longings, in an experiential transmutation of being in the world linked between themselves in an inseparable exist-of -being-in-itself and being-for-itself , in a dialogical relationship of Yo-Eso and Yo-Tu, with the love for esencia y la angustia por contingencia. The meanders experienced by each character, whether in great facts or in simple and contentious gestures, have more motivations to read the book. Well, reading the Emotional Labyrinth, by Evan do Carmo, is a permanent revival. An uninterrupted affective experience. As if we were going through the labyrinths of Crete, and, in front of the great monster of Minos/Life, we felt as if we were Theseus/ Walter without the common thread of his beloved Ariadne/Beatrice. Every step taken is a leap into the unexpected. One throws oneself into the void of the existence so well known and no less desperately denied. Already in the first chapter I was introduced to a lyrical yo-who said what he came to. With extreme care he weaves his long thread of Ariadne and points out the way out, when he says: I am not literati, I do not really like literati they have evil disguises, they are cruel to the extreme and are manipulated by a selfish and arrogant spirit believe that they are always right , or that They always have the best option or outlet for any eventuality, they know how to explain all and dominate any theme -, about all when it is about feelings involving human relationships . The fundamental (and recurrent) themes treated by Evan do Carmo, in his Labyrinth Emotional, is love and loneliness. Emptiness and madness. Pain and loneliness. Resilience and obstinacy. Empathy and otherness. Melancholy and hope. At each intertwining of life (and emotions) one perceives a silent opening to which Frayze-Pereira understands as the one who is not us and who is made to say in us . Although he does not present a deeper look at things, places and people, Evan do Carmo indicates/suggests the most implicit contents of his characters, which guarantees us a deepening of our own emotional perceptions in front of the behavioral acts of the characters.. Allowing us a personal construction from our unique experience in interaction with the world.