words by Lina de Feria
The extreme poetic dedication of Lebensraum, by Jesus Lara Sotelo, is directed towards a contemporary alert. The reality that, when James Joyce breaks into the art of books would do so in a way that even today will be insuperable.
The appearance of Lebensraum in contemporaneity speaks of the psychic effort of a meditator whose poetic conclusions appeared armed with special dynamite that polishes Cuban literature. The unease becomes coherent and his contrasted redaction finds the immense power of invention that set Lebensraum, making it typical that signifiers come with the fluency of a poet whose vital space is circumscribed to continuous mythical stories.
The reference is perhaps product of his education and study. But the bias of modern in Lara becomes a marked infinity due to the hydraulic jumps where his philosophical habitat turns the myth into a permanent surprise.
The imagination is convincing. It makes a sort of literary system where he makes tangible not the random appreciation, but without an intention to look for fractures imposed to the language; its shore is the one of a transcendent fiction.
It is fit for Lebensraum, which arrives in a moment when an art in crisis retakes the sobriety and restraint, to acquire true hierarchy.
Human being as the axis in his elaborations turns this book into something eloquent, because the dramatic speed of myth always faces us with the human dilemma.
It is acid and huge his recruitment of the humans surrounding us, but everything is always well chosen, and without a doubt, it projects it to the reader, creating roundness in every literary piece, something that makes the reading unforgettable.
Among Lara’s merit there is his effort for perfection. Also as a painter, his professional sign forces him to leave a mark, alien to every surface and on it lays perhaps his kind of success, which as a hot coal in communication extracts the time from statism and apathy, which he will ultimately end thanking Lebensraum for.
