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. Thus establishing an analogy with our own existence, in a common thread that takes us beyond the labyrinth, impelling us to continue despite traumatic circumstances and our struggles Internal understanding that "always after a storm , after a dark night of deep darkness is inevitable that the sun of hope is born, and this when it comes It paints on the horizon the most beautiful picture, its multicolored rays are brushes to color our tomorrow and, in this state of celestial joy not only see the rainbow, but also mix its colors and transform them into a watercolor of light ..."

Therefore, our encounter (entrailing) and disagreement (entrailing) with the lyrical self/Evan is explicit. His perception and sensitivity in the fit to the text "For some time I live with an immense will to honor a very dear friend, but it was only will, so little by little things were heading for this my book". Its narrative overflows to our rasa gaze. "His life may be considered a sad drama for some, an ordinary story for others, but for me , humble and necessary." We love this, because it enriches our reading and gives us argument to read it more and more . Show us that the author's dedication to the text was true.

The Emotional Labyrinth of Evan do Carmo makes us perceive (by instinct the experience) that, in some moments of our life we must guide, of immediately, to the side of outside of our insurmountable labyrinths (pains, anguish, sun edad o vacío ), but like Walter, he does not know how to do it. The ball of Ariadne escapes us from the hands. It is short besides, as short was the life of Walter Junior in front of the great devouring monster (war) and the long despair of his father to find them, leading him to despair, to the desire not to exist, to become "a lump without color, without flesh , only bone and despair, which caused fear and compassion."

Emotional Labyrinth of Evan do Carmo makes us perceive (by instinct experience) that, in some moments of our life we should guide, of immediately, to outside our impassable labyrinths (pains, anguishes, loneliness or emptiness), but, like Walter, does not know how to do it. The ball of Ariadne escapes us from the hands. It is too short, as short has been the life of Walter Junior in front of the great devouring monster (war) and the long desperation of his father to find him, leading him to despair, to the desire not to exist, to become "a lump (...) a man without color, without flesh, only bone and despair, who caused fear and compassion."

Delve into the soul of each character (Walter, Beatriz, Walter Junior, Armando, Paulo, Rose, Felipe, Isabel, Ruth, Ricardo, Sr. Antonio, Dueña Francisca, Jorge Figueira and Cícero, passing by Oliveira Gomes) betray us the clear sensation of a want to the bad, of a so familiar anguish that impels us to the second step, although this takes us somewhere, Or, by circumstance of life and personal choice, take us to emptiness that traces us intensely, intrinsically and viscerally. Making us walk "days and nights seeks shelter and comfort in the hearts of friends, drowning" our "resentments in vessels of disappointment," turning us into "a drunkard, a madman without direction and direction ." . Although we know that to live is to fill the emptiness that only existence contains.

Understanding the meanders (with their shadows and archetypes) of this Emotional Labyrinth described by Evan, is a task for few. "I do not get the freedom of the spirit, I would like to fly free of the thoughts that surround me on all sides of consciousness, who told me to be able to flee from this sea of shadows, which amazes me" us, symptomatically and unforgivably , to enter Walter's soul, without trying to reveal their labyrinths / deep secrets (and confused), but to live them in all their intensity.

This is the feeling described throughout the book. As if we felt part of that labyrinth, more than that, as if we entered it and saw the great Minos to build the obstacles (and mess) that every labyrinth has. As if we wanted to be in the labyrinth, to face the monster of Minos (voracious solitude) with the audacity of Theseus, even if we knew Walter, on the way to any bar, in search of our seven bottles and seven glasses of a River/Cretan balm.

To resort to this Emotional Laberinth leads us to offer, as Ariadne/Beatriz, our hilo of existing-existing in a constant thinking, because "thought is a divine gift and ours much greater , only ours. There is no treasure that compares to mental exercise and there is no law or territory that forbids it. He is free and lives in a borderless universe. Although he has an owner, when he leaves us, when he leaves the sensitive sphere, when we launch him into space, this rebellious prodigal son no longer returns to the father's house."

Thus, involving the intrigue of this Emotional Labyrinth humanizes us, voluntarily and courageously, makes us more vigorous to face our obstacles (even if they seem insurmountable and want to devision us at all times). Herein lies the creativity of Evan do Carmo. Which makes his narrative unique and beautiful. We offer the thread so that we salt from the internal corridors, including knowing that, "When we think we take the correct road that leads to sleep, to the ideal, to the objective, to the anticipated happiness, we sit and even take a nap, then someone comes and wakes us up to the disembarkation, so that we get off at the next stop."

For this reason, just as the oracle in Athens predicted to Theseus his victory over the monster of the labyrinth, for Ariadne's sake, Evan do Carmo shows us how strong Beatrice's love is for the love of Ariadne.

Walter. The golden thread that leads him out of his

Cstraight/Anguish/Pain. For the bricks always to Walter's samples, Beatriz is made thread, poise and plaster. And over time, that "he is a master in matters of the heart, in malunderstood feeling ", we understand that "feelings do not age, they mature", because "he has the right diet to fatten the slimming these worms that feed us and that devours us".

With that, we perceive that Ariadne / Beatrice does everything for his beloved Theseus / Walter, however, the great king Minos / Life leads him, equally, to the inevitable confrontation with his voracious monstro (addiction, insecurity, fear, sadness, loneliness) that at all times tries to devour him , Llevaandolo to believe that "It's like that with the crazy night, they don't sleep even when they're sleepy."

As if it were an easy task to live. Since "In the heart of a lover there is no room for conscience or reason, everything is blood, instinct, strength and brutal domination". Neither is dying. Be moved to every alien. Not for less does it make man crazy in his existence of life without at least having seen his task of being successive. Only Minotaur has insatiable hunger. And we don't always have Ariadne (Ruth, Beatriz, Lurdinha) to offer us her hilo of love. His valuable witness. His strength to face the treacherous traps of our emotional labyrinth.

There is only one way to get to know the maze built by Evan. Entering it without fear or reservations. I did it. I accepted the challenge and navigated the mysteries of the Aegean and arrived in Crete/Rio, in a very significant postwar period. Minotaur/war has demanded its sacrifice and many Walter Junior succumbs in front of the great and gloomy monstro metallic. This is how Evan do Carmo invites us to enter his Emotional Labyrinth, the best, takes us to discover every step taken, although there are frightening monsters soon to devourarnos.

Once inside the Avanian labyrinth, the reader is immediately and uninterruptedly led to self-reflection. It's no longer the same thing it came in. Few steps / chapters and already probdea (implicitly) to discover outputs, to invent confrontations, to build solutions, to prepare (eyes and heart ) for what will sell the continuation . By assuming a position of existential welcome that involves multiple possibilities. By placing us in front of our particular monsters in a position of floating attention and waiting.

Evan do Carmo gives due importance to the temporality of existing. His relationship with the characters is very significant. This carnality of the author with his work is explicit. In this context, logic and chronology converge interpretively in a very regular analytical narrative construction, fitting, its readers, a consubstantiation of existence between facts, people and scenarios described. Enabling us a reflective and shared experience with the actors of the plot.

In this way, as well enumerates the author: " as for my breath and share with my dears, my function in existence and divide it into distinct parts: as a man, as a father and, above all, as a brother." Thus, concluding this Evanian work, I confess that the book brought to me a unique labyrinthine experience, of which I know (by recurring experience) the entanglement and destiny in whose thick space (in obedience or stubbornness) the thread of the ball of my own existence.

With that, it remains for me then, to recommend the book and urge whoever it is, to enter its labyrinths and, made Theseus / Walter to face the most ferocious minotaurs having in the heart only love and hope and in the hands, the tenuous and fragile thread of Ariadne / Beatrice.

Good reading!

Alucha-Licuta Oxoronga

(Psychologist and poet)