THE AVATAR IN PANAMA - Theses - Flinders University

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3.3 Reinventing the Double The Avatar in Panamadual planes and alternating perspectives (“El búho que dejó de latir”, “Elbulto” [FM]); characters’ dialogue (“La gringuita de la moto”), orcommunication methods evident in stories dealing with literary creationin which the writing appears in italics (“Nereida”, “Piensan que no tuveun buen motivo”, “Underwood”, “El reto” (LTG), “El relato” [CC]).The narrative’s structure may also be contrasted in differentsections of the story by use of language and vocabulary, imagery,symbolism, and tone. The structure of “Los zapatos” is mirrored insofaras the first eleven lines are diametrically opposed to the last elevenlines. The two halves are reflections of each other with the first evokingimagery of silence, darkness, infinity, doubt of existence and orientationand the second mentioning warmth, asphyxia, and sensations ofweight, noise, light and disorientation. This contrast is also evident in“Recordando desde el tedio” in which the pleasant memories of youthare replaced by tragedy suffered in adulthood.In Jaramillo Levi’s writing doubles and doubling take manyforms. Firstly, there is the question of style and technique which coverscharacterisation, vocabulary and structure of the stories. Thematicdiscursive language describes actions, people, and settings. Words arecarefully chosen, semantic games, rhymes and sequences areconsciously avoided (see note). There are stories adhering to both thetraditional linear model, and to alternative structures which may begin inmedia res or present a cyclical period. There are also works that makeuse of a double beginning or a double ending often facilitating severalinterpretations of events.Secondly, there are themes inherent in the works which rely onthe techniques above and affect the way in which they are delivered tothe reader. Many devices found in classic literature of the double areused, like the unconscious creation or projection of the double; theexistence of the intangible presence as a double; and the physical ormental alteration of characters from one being to another. Themes andconcepts are frequently those rooted in the modern like double orsecond lives, the divided self, stalking and possession, premonitionsand hallucinations, or the postmodern which exploits spatial andtemporal doubling, the merging of fantasy and the real, andmetafictional techniques. Jaramillo Levi's characters are notable andare often doubled, multiplied, complement each other, may beanonymous, recurring, psychically divided, or unstable. Jaramillo Levicreates stories narrated from unusual perspectives; those of animals asmentioned in 2.2 (“El baúl”), “Testigo” from the perspective of a mirror,or “El nuevo recinto”, from that of a foetus in utero to newborn.226
3.3 Reinventing the Double The Avatar in PanamaLiterary Double-talkThe language of doubling and multiplication may be groupedinto different parts of speech and into language pertaining to the “Iother”relationship. 11 Verbs that imply doubling and duplication are manyand miscellaneous nouns, including ecos, réplicas, and copias areabundant. In the narrative, when conveying the characters’ reaction offear or loathing concerning the confrontation of the double, the literarysense of sameness in relation to mirror image doubles becomes evidentand the descriptive language reflects this. Conditional tenses areutilised to convey what might have happened or to indicate that whatappears to be happening is not actually ocurring. 12 The present tensedemands a sense of immediacy and the imperfect representsremembering.Jaramillo Levi's chosen vocabulary and language can make animpact from the opening line or the closing paragraph of a text, andcertainly set the tone of the story. A double beginning may present twoor more time zones simultaneously, may incorporate two aspects ofgrammar, may include two subjects or objects, opposing concepts, orpresent an indistinct scenario. 13 The ambiguity exists in the openinglines of “La gringuita de la moto” (“No la ha vuelto a ver” [127]) and “Elesposo” (“Regresaba al fin, tras larga ausencia” [37]) in a similar way.In the first, there is a reference to a female person or object belongingto both a time in the past and to the narrator who is relating the story inthe present. In “El esposo”, the opening is ambiguous in terms ofsubject: “Regresaba al fin, tras larga ausencia. Nada parecía habercambiado en la ciudad” (37). Grammatically it is unknown who returnedafter the time away. If, as interpreted by Leland H. Chambers, it wereSandra -the protagonist’s object of desire- who had just returned, itwould then be incongruous for the narrating protagonist to declare thatnothing in the city seemed to have changed. 14 Chambers’ premise mighthave been that Sandra had recently married (“su nueva felicidad”) andhad returned from her honeymoon. Assuming this, there is then noexplanation as to why the narrator is unaware that she had married inthe first instance; there is, however, if it were the narrator who had justreturned, and had not seen Sandra for a lengthy period of time. Hemay, in fact, be the College Professor abroad character found in manystories in Duplicaciones.11 See Appendix C Vocabulary of Multiplication and Doubling.12 This was apparent in “Maniquíes”. See 2.3 135.13 “It was the best of times, it was the worst of times, it was the age of wisdom, it wasthe age of foolishness…” Charles Dickens, A Tale of Two Cities, book 1. 114Leland H. Chambers, in his translation, writes: “She returned at last, after a lengthyabsence. Nothing seemed to have changed in the city”. Jaramillo Levi, “The husband”,trans. Leland H. Chambers Duplications and Other Stories (Pittsburgh, Pennsylvania,Latin American Literary Press Review, 1994) (30).227
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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 B: Enrique Jaramillo Levi:
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List of Works CitedThe Avatar in Pa
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