THE AVATAR IN PANAMA - Theses - Flinders University

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3.3 Reinventing the Double The Avatar in Panama3.3 Reinventing the Double: The Avatar in PanamaNunca me he propuesto ser original, simplemente trato de ser diferente, y porsupuesto fiel a mi mismo, a mi visión del mundo, a mis obsesiones, a mis propósitos,sueños o terrores.Enrique Jaramillo LeviThe many concepts discussed in the first and second partswhich represent Europe and North America, have their postmodernequivalent which are exploited and combined to produce the cuentisticajaramilloleviana. From the physical duplication of the text, specificrecurring language, novel transformations and alterations, disintegrationand disappearance as traditional death, the contamination of one planewith another, dual character roles as double lives.“Reinventing the Double” draws attention to those persistentelements of the modern and postmodern literature of the double whichJaramillo Levi manipulates to mould his own model. Specifically, theyinclude the physical replication and multiplying of text within the text;shape-shifting and metamorphoses of fictional characters; the double’sdeath and disintegration; recurring metafictional devices, and the fusionof dreams, fiction, and reality as a means of literary duplication. Thiscombination of old and borrowed, classic and recent devices have beentweaked, polished and crafted to create Jaramillo Levi's new hybriddouble, the Panamanian Avatar.The Old, the Borrowed and the NewBy proposing that the “older” literature represents the classicallymodern double whose characteristics are detailed in sections 1.1 to 2.2,in accordance with these the reader will find that those elements appearin Jaramillo Levi’s literature as photographs, shadows, and reflectionsas doubles; bestial, transformed and metamorphosing doubles; thearchetypal mirror image; inanimate, abstract or undiscernible doubles;projected subject and object doubles; the employment of children, twinsand siblings as potential doubles; and the idea of a characterreincarnated, possessed, or living a double, dual or divided life.Consistent with this classical manifestation of the double is itsappearance in various material forms described by Todd & Dewhurst. 1They include the double’s appearance as part of the body (“La figura”);as a solid replica (“El esposo”); as semi-transparent (“La intención”); asexchanging ideas and thoughts telepathically (“La fiesta del sótano”);and as a physical identical double recognisable in “La tarde delencuentro” and “El esposo”. The alter ego also appears as a projectedmirror image consistent with Downey’s rationalisation of the double as1 See 1.1, Beside Oneself: Impaired Reality, footnote 69 33.222
3.3 Reinventing the Double The Avatar in Panamathe most common form of visualisation: subjects usually seethemselves in the middle of a visualised scene as actors or spectatorsoften due to an unfulfilled desire. This is true of the protagonists in both“La tarde del encuentro” and “El esposo”. 2 As with the traditionalliterature of the double, psychoanalytic and psychological factors suchas wish fulfilment and inadvertent summoning of the double, madness,loss of reason and psychic collapse, paranoia, jealousy, andvengeance, are explored as motivating causes for the emergence andpresence of doubles and doubling in the Jaramillo Levi's work. 3Structurally, within this first classic category, Jaramillo Levi creates plotdrivenstories which demand memory, intelligence, and lateral thinkingfrom the reader. There is frequently a traditional linear narration ofevents, comprising a preliminary incident, conflict and crisis,reappearing characters and concepts, and a resolution of sorts. Thisnarrative sequence forms the foundation for “Es él” and “El vecino”. Thesubdivision “Incidencias” in particular, comprises such anectodal tales. 4By interpreting the “borrowed” as those elements from the morerecent double discussed between 2.3 and 3.2, the presence of thepostmodern concepts for which Jaramillo Levi has become renowned,can be recognised throughout his fiction. Technically, the author revealsnon-linear narratives; he employs devices such as foreshadowing,adumbration, the use of flashbacks through memory, dream, daydream,(“El búho que dejó de latir”, “Mientras dormía”), and through theretrospective reconstruction of events by characters (“Síntesis corregiday aumentada”). As opposed to the linear, non-linear stories often beginin media res, beginning with climactic ending, and prefiguring at the endof a story what is likely to come (“Los anteojos”). The retelling of thesame text so that it is reshaped and presented with a new perspectiveis common to postmodern literature and this revision of existing texts isa process that Jaramillo Levi undertakes before each publication. 5 Thisclass of story provides brief flashes of information or a keyhole view of asituation from which the reader must put together a plot. There arevarious motives which can be attributed to both the older and morerecent fiction, in terms of the double’s development. Characters splinterand fragment, or in fact, they disintegrate or dissipate. The perspectiveof the narrator may be doubled with that of the reader, and there maybe dual or multiple view points. Doubling appears more often instructure and technique as there is often a spatial and temporaldoubling as far as text concerned, a fusion of fiction and reality.Metafictional devices such as self-referential fiction and themes; thestory within a story; narration through the reading of journals and books;2 See 1.1 Beside Oneself: Impaired Reality, footnote 70 34.3See Appendix A1 question 2.4 “El espectáculo” falls into this category and is imbued with the feel of a fable.5 See 3.2 Jaramillo Levi’s Revisionist Texts 205.223
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I certify that this thesis does not
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Introducing the Double:The Seductiv
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Appendix A1:Double-Speak: Interview
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Appendix A1:Double-Speak: Interview
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Appendix A2:Dentro de los zapatos:
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Appendix B: Enrique Jaramillo Levi:
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Appendix C:Thematic Taxonomy of Dou
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List of Works CitedThe Avatar in Pa
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