Paradiso(v.2)

Paradiso es, en principio, el viaje ritual que Dante Alighieri cumple en La Divina Comedia, al tener que descender a los infiernos para luego reaparecer dejando en prenda su luz en la oscuridad. Eso hace de Paradiso una obra auténticamente dentro de la tradición órfica, excepto lo señalado. El horror que en ella se manifiesta para el sexo de la mujer podría estar en los cuadernos de Leonardo de Vinci. Eran para Lezama los ínferos la relación sexual, fuese con quien fuese. María Zambrano PARADISO fue la única novela publicada en vida por José Lezama. El hilo argumental, la infancia y juventud de José Cemí, tiene una evidente raíz autobiográfica y sirve de base para la construcción de un mundo poético en el que la realidad, el mito y la fantasía logran, bajo el denominador común de una asombrosa erudición, u n perfecto entramado cuya unidad refuerza un magistral dominio de la lengua. Esta obra compleja, oceánica y barroca representa la suma de una lenta labor de elaboración que se prolongó a lo largo de gran parte de su vida, hasta entonces conocido únicamente por su excepcional talento como poeta y ensayista. La aparición en 1966 de PARADISO suscitó la entusiasta y admirativa respuesta de un selecto grupo de críticos y escritores. Entre otros, de Julio Cortázar. Precisamente esta edición de Paradiso reproduce el texto, revisado y autorizado por Lezama Lima, que publicó en México Ediciones Era, en 1968, al cuidado de Julio Cortázar y Carlos Monsiváis. Cortázar valoró PARADISO como 'una ceremonia, algo que preexiste a toda lectura con fines y modos literarios... Paradiso is a novel by Cuban writer José Lezama Lima, the only one completed and published during his lifetime. Written in an elaborately baroque style, the narrative follows the childhood and youth of José Cemí, and depicts many scenes which resonate with Lezama's own life as a young poet in Havana. Many of the characters reappear in Lezama's posthumous novel Oppiano Licario, which was published in Mexico in 1977. The novel relates Cemí's struggles with a mysterious childhood illness, describes the death of his father, and explores his homosexuality and literary sensibilities. He lives in the world of pre-Castro Havana, and the Cuban Revolution only appears as a secondary plot. Some of the later chapters incorporate narrative experiments in which several alternating stories, set during widely divergent eras and having no immediately apparent connection with José Cemí, are interwoven and eventually merged. (In a letter to Julio Cortázar, Lezama explained that these chapters represent Cemí's dreams after the death of his father.) Because of the graphic homosexual scenes and the novel's ambivalence towards the political situation of the day, Paradiso encountered controversy and publication problems. Today it is widely read in the Spanish-speaking world but has not achieved the same fame in English-speaking countries despite a translation by Gregory Rabassa. Despite having written one of the most accomplished novels in Cuba's history, Lezama said he never considered himself a novelist, but rather a poet who wrote a poem that became a novel. Paradiso can thus be considered a kind of long poem, just as well as a neo-baroque novel. Critical edition of the Cuban novel. An evocation of the author's growth through sensual and spiritual experiences