THE AVATAR IN PANAMA - Theses - Flinders University

3.3 Reinventing the Double The Avatar in Panamade El búho que dejó de latir, son muy anterioresa la escritura… 6Duplicaciones represents one anthology containing eightdivisions. As mentioned in section 1.1, to date, there are four completeeditions of Duplicaciones, 7 but its stories continue to reappear in variousincarnations in publication after publication. 8 As narrative avatars, thestories render themselves not only as alternative versions of theoriginal, but also as a new original, both two and one simultaneously. Inthis sense, Jaramillo Levi's stories are infinitely re-told as they recur ona big scale. Not only are there intratextual links throughoutDuplicaciones reaffirming Fernando Burgos’ definitive description of itas “un gran solo texto”, despite being a collection of independentnarratives, but there are also intertextual recurrences through outJaramillo Levi's literature making his complete corpus “un gran solocuerpo”. 9 In order to emphasis the doubling aspect of a story, there mayoften be a physical (textual) or structural (narrative) doubling of the text.In the former, a part of the actual text may appear more than once inthe story like a refrain which is used as a way of linking two pieces oftext. This seems to occur in stories dealing with metafictional themeslike “Ofertorio” in which a paragraph of text (which is actual written text),is repeated and this links two time-zones:Inclinaron todas la cabeza y en seguidaprosiguieron la ceremonia, a su primitivamanera, el tiempo que aún faltaba para que lagran nube, acechante como un dragón, hablasecon sus roncos estertores y vomitase fuego ydesolación como tantas veces antes, como enel principio (62).The first time this line appears it is as italicised written text setin the present day. It signifies the halfway point in “Ofertorio” where theprotagonist leaves one dimension and enters the next. The second timethis line is read, it is in normal font as a description of events set at anon-defined point in time. 10 Thus, the typeface itself be divided into bold,italic, or sometimes a capitalised font which may differentiate between6 See Appendix A1 question 17.7 See 1.1 footnote 2, 2.8 See Appendix B footnote 4.9Fernando Burgos, “Dentro del espejo”, La confabulación creativa 98.10Several critics have interpreted “Ofertorio” as set in the future after a nuclear blast.For one example see Romero Pérez, La mirada oblicua 153.225