We don’t always live the life we want. We are used to traveling the world to leave a mark. Gil de Biedma said this in his famous poem Life was serious: “I wanted to leave a mark / and applaud”. It usually doesn’t. Most of the time we leave footprints. We are like blade-marked trees, where broken hearts, the names of people we love, erode our being. Most of the time these things are due to cowardice. We don’t stop being cowardly beings that we can’t get out of our comfort zone. This happens to us in all areas of life, so literature can often help us with the transition. There are writers who reflect the human condition very well, they show the dark corners and bright areas that we all show from time to time in our lives.
Published by Ginés S. Cutillas’s Three Sisters publishing house, False Life is a satire on the human condition. San Sebastian singer Rafael Berrio sang it in his song Simulacro: “I’m afraid to live my life as if it’s a simulacrum / As if I’ve had the grace to live twice for myself / A time will come from putting the important aside / And wasting the present time on sketches». That’s what his work is about, a simulation of life, how some people abandon themselves to life by looking for other ways, or how these paths converge, because fake life is when we try to live or change life, escaping forward, eventually meeting other people who are not so different from normal. .
Cutillas keeps entangling stories as the magician pulls handkerchiefs, pigeons, or rabbits out of his hat, or the cannonball tells us where the little ball he hid in the bottom of three glasses. Ginés is a master of subtext, the unsaid as much as the spoken; He has shown this to us in works such as The Devil Behind the Garden (Pre-texts, 2021). This novel may be linked to that Valencian satyr tradition that Berlanga or Aranda portrays so well, and may even have some parallels with the anthropoid novel El by Fernando Parra Nogueras. We are faced with a novel that grows with successive readings because it is fictionalized as a puzzle or a construction game, a narrative in which the confessional style encompasses everything.
Ginés S. Cutillas surprises with every new work. We are in front of a writer who takes risks, works and knows the mechanisms of expression. The false life is still a confession and therefore leads us into the life of the hero. The author knows how to use something as old as oral tradition, embodied with a fluency that helps the reader follow the story. As in the German film The Lives of Others, in which a Stasi agent watches a playwright, he introduces us to the satyr’s life, as the protagonist himself says. We’ve all been spies on our neighbor once, in the human condition, we’re attached to it.
Ginés S. Cutillas in grace. Each work he shows us not only improves on the previous one, but also takes risks. Try to use different sounds than usual and that’s what counts in literature, risk and play. At the end of the day, life is like play and risk, because that’s what we’ve come to.
Source: Informacion
