The Eye of the Spell and other Religious Magical tales

Last book by Luesmil Castor Paniagua A.

by Salvador Santana

The teacher, storyteller and poet Luesmil Castor Paniagua, just published his narrative work “The Eye of the Spell and other Religious Magical tales”.

Determined this author not to create according to fashionable conceptual dizziness, aware as a writer that in the history of literature there have been movements whose fashion lasts for a few years and then disappears, without contributing in the least to the course of literary history, he preferred the safe path of his experience and his narrative gifts.

It is not easy to form a fair enough judgment about an author's work, It can happen, that six different critics may have different points of view about the same author.

But I perceive that Luesmil Castor has achieved an important architectural piece with the accumulation of real data on imaginary events., by giving it an ensemble form.

Take advantage of, also, that sentence of Flaubert when he says: “But if a narrative is so boring, like a scientific behemoth, so, good evening, because art is over”.

In reading these stories, my curiosity as a reader was always on the alert and never waned.

These tales of the Eye of the Spell, describe the relationship between the mystical sensitivity and the irrationalism of some men, In a scenario where the limit of the living and the dead vanishes.

His characters have all the characteristics of the antihero of the industrial age. They reappear from their vaporous existence to take on pain without exits.

There where the delusional magic is offered to us through irony.
The magic in western literature comes to us from the Greek tragedy, which allowed us to discover through Sophocles and other authors of his time, that in that magical world that they described, fate weighed on men.

Borges, in his book Universal History of Infamy, includes several stories about magic: A Theologian In Death, The Postponed Witcher and The Ink Mirror and others.

I mean Borges, because he was a writer who had an important influence - according to the Uruguayan critic of the novel, Emir Rodríguez Monegal - about writers like García Márquez, Julio Cortázar and Cabrera Infante, which are the mainstays of the famous boom in Latin American novels.

The good writer is one who is capable of assimilating and coordinating a large number of contributions that tradition leaves us, in addition to adding your own talent.

Albert Camus, in his drama Caligula, puts in his mouth in a dialogue with Helicón: “The world is not bearable. That's why i need the moon, bliss or, the inmortality, something crazy maybe, but that is not of this world”. Y Herbert Read, English critic affirms: “that normality is itself is a neurosis, an escape from the reality of life”.

Luesmil Castor Paniagua A.

In that metaphysical perception of life, the characters of the Eye of the Spell stories run. Good literature is nothing more than language loaded with meaning, dijo Ezra Pound.

In that artistic will to abandon the modern world, you can see clearly, that the objective of the narrator Luesmil Castor Paniagua, is to highlight that vernacular world of religious and superstitious beliefs, but with a certain aesthetic narrative rigor, immanently.

The secret of popular art is, in the art of not adding one more page than the normal reader can assimilate through a quick read. Because that's how it reads now. That is one of the successes of The Eye of the Spell.

Note: The author is a Writer, poet and storyteller. Member of the generation of 70 of Dominican literature.