IN LITERAY TRANCE

USPA NEWS - The brain has communicative circuits, which run along the nerves and create mental phonemes, with the internal grammar of the language that the subject received at birth, and flow into strings of words that make up the literary syntagmatic phrase. From that psychological citadel arises the author.

When sounds became words, the man communicated with himself, and oral literature appeared. So, being taken to the paper, written communication began. Literature is a system with social and psychological denominators, so it discovers an author's consciousness, who creates characters with mental imagery and specific societal behaviors. That indicates the presence of agents by external stimuli but without any ego mechanism. To materialize the creation of the author, the crystallization of the sounds of words is embodied in literary form in a piece of paper.
The colonialists of the language manipulate it to create a new language within the language where there are only consistent vocabulary and ideas. They writhe it cultural, social,

political, or religiously, to strip the best components. In their language, use phrases which act subliminally and push invalid social and mental behavior, such as when laud criminal doctrines of history for the implementation of means and behaviors of similar anti-value. Those manipulators of consciousness, are indoctrinating negative language, and capable are of disappearing books and literature for blind the humanity itself. To the extent that a person read less, the more it will have of enslavement, degeneration, primitivization.
Nor can we eliminate the literary aesthetic beauty by the concept and message. The message is positive when language exalts the human species. The aesthetic beauty is higher if the message contains only

social distortion and it is psychologically destructive. If the work has aesthetic beauty, it is stimulating of the spirit, as a calm sea, a very blue sky, or a refreshing summer shower in a sweltering day of South Florida.
"The author exists because the reader exists," says the structuralist French scholar Roland Barthes, and affirms that nothing is created in language and literature, only words are combined.
"There are not creators, only combiners". It is call intertextuality. A text has been thumbed from mouth to mouth infinitely. The Russian linguist Mikhail Bakhtin called it "dialogization".
Why the reader of good writers is almost extinct as if using a books-proof vest? The reader is losing faith because suspects that books

are another trading company to sell millions of copies per metric ton. The literature has become a big business like canned food. The Great Books include literary prizes to distinguish "writers" and systems and governments can win promisingly. Official Cuba understood it quickly. In a statement of Vargas Llosa in the sixties award of Cuba he said, "Donate the money to the Latin American guerrillas. We will reimburse it to you". That sparked a dissident writer. Perhaps today Cuba has learned the lesson.
They do not mind the difference between syneresis, a third narrative voice, or a linguistic link“¦ or affect them. The Planeta Prize of 2004, Juan Marsé, jury and writer, said the winner was the least bad of very bad deeds. In 2005,

the first Tusquets Editores of novel prize, studied 785 manuscripts and was withheld.
Yesterday, nobody dared to write fictional narrative without training, education, and necessary culture. Studying you learn to read, but reading ... you learn to write. Today, non-sense is printed, organized a "presentation of the book" and a writer's personality is made. As the Spanish scholar Savater would say, "there are so many prefabricated victories that defeat has a pleasant scent of sincerity." How many good literary works have been lost to reward favored? It debases the literature.
The books create in me a supernatural fascination. The first time I fell in “literary trance“ was twelve years old and read Tom Sawyer by Mark Twain.

I lasted thirty years. I woke up in the United States for the dulling management of the language in the Spanish media.
When the reader expresses strong identity with the central character, to the extent that does not want anything bad happen to him, even to a villain, it is that it has fallen into literary trance. You have to read good writers to fall into that magical stage of literature and not as a maker of inked paper. As said: "In times of Aesop, the animals talked; now“¦ they write."