Rolando Perez – författare

La VERDAD de DIOS Revelada a un Pecador trata sobre como la religiosidad, el egosmo natural en el ser humano, la falta de Amor, etc. nos aleja de DIOS y como podemos romper con esos patrones para vivir una vida agradable a DIOS. Tambin nos habla de las diferencias entre las religiones cuando todos sabemos que hay un solo DIOS; y como esas diferencias y esas guerras entre religiones han alejado a las personas del camino hacia DIOS.Los primeros 5 captulos se refieren a las 5 Verdades Vitales que todo ser humano debe conocer. Estas son: el Amor, el Pecado, el Sustituto, el Arrepentimiento y, por ltimo, y no menos importante, la Fe. En ellos encontrars revelaciones que te ayudaran a entender que ninguna religin te puede salvar y que solo teniendo una Verdadera relacin con CRISTO encontrars la nica y Verdadera Felicidad.En el captulo 6 encontrars la mayor revelacin de la Palabra de DIOS y la Biblia para que puedas entenderla claramente y de esa manera podrs servirle a Nuestro Seor JESUCRISTO sin mal interpretaciones religiosas.El captulo 7 te dar una imagen mucho ms clara de lo que es y debe ser un Verdadero Cristiano y de lo que no lo es. Esto nos ayudar a auto-evaluarnos para que humildemente podamos eliminar de nuestra vida esas costumbres, sean familiares o religiosas, que nos han inculcado de alguna manera u otra durante nuestra vida; las cuales nos alejan de DIOS.Estas revelaciones pueden ser fuertes para personas que tienen primero a su religin que a CRISTO mismo. Este libro es una Revelacin de DIOS para confrontarnos y que de una vez y por todas le entreguemos nuestra vida a EL y no a creencias religiosas. Estoy conciente que a la mayora de los seres humanos por naturaleza, no les gusta que se les diga que estn mal o equivocados en algo; se molestan aunque sea Verdad. El propsito de este libro jams es ofender a los hermanos en CRISTO, sino quitar la venda que nos han puesto en los ojos para que podamos ver la VERDAD y ser realmente Felices. Por favor, si lees algo en este libro que te incomoda o por alguna razn no estas de acuerdo, no dejes de leerlo; continua leyndolo que te aseguro que ms adelante entenders su propsito y de seguro obtendrs Gran Bendicin para tu vida y la de los tuyos.DIOS te Bendiga Mucho,Rolando PrezEl Cartero de DIOSMinisterio: C.C.V.CRISTO, Comunin & Verdad

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez’s book undertakes a critical approach to Sarduy’s essays—Barroco, Escrito sobre un cuerpo, “Barroco y neobarroco,” and La simulación—from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master’s Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or “neo-baroque” visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American “baroque” will consult in years to come.

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez''s book undertakes a critical approach to Sarduy''s essays—Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco," and La simulación—from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master''s Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez''s book undertakes a critical approach to Sarduy''s essays—Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco," and La simulación—from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master''s Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.