Page - 127 - in Mobile Culture Studies - The Journal, Volume 4/2018

Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures 127 gettable Rick” receiving in this way an iconic recognition of a whole era that were not ready to establish a transcultural exchange in a position of equality. In this way, Rick escapes time, one more time, because it becomes a symbol of a first failed attempt to conciliate in communion the “self” and “the other.” It is unforgettable because the memory is essential to preserve the continuity. It is thanks to the exercise of memory that we can go forward and correct the errors of the past. It is a ray of hope, a message that indicates that we can be better and conquer that which we lost in History. Many of the transcultural journeys become, in our century, movements of migration. Those that want and choose to emigrate find themselves having to interpret confusing rules of displacement (and the absence of them) setting them in a similar situation as when the cultural empires wanted to present the culture of “the other” from a foreign perspective ending by repre- senting just their own interpretations of it, detached from “the other.” In both cases the jour- neys of the transnational world present inadequate maps of mobility. In the XXI century, the political responses to the migration of “the other” are not adequate to the political demands of “the other” that expects to be seen and taken into account because he and she hold unmet needs that require intervention. Yesterday’s failed politics demand that at this junction of History new mechanisms of recognition of “the other” be established by mutual accord, in cooperation, in order to establish once and for all a true encounter with the other and not one more negation of the other. The subtitle of the next section is “Fundido encadenado” or “molten chained.” This subtitle reflects the terrible image of lack of mobility and freedom that seems to evade all attempts to be broken. During this segment of the story Rick is absent. Later on Rick will become “seditious Rick” or “sedicioso Rick.” The announced disenchantment of the beginning of the narrative is deployed in this section. The “richness of the soul” or “Rickeza de alma” transforms into “fictitious Rick” or “ficticio Rick.” The encounter ends up being a mismatch leaving both par- ties in a vacuum of broken promises and expectations of the negation of “the other” that feels minimized and unprotected under the auspices of a political solution that ends up being not favorable at all to “the other.” The next segment of the narrative is subtitled “Crossing on dry land” or “Paso en seco.” In this section Rick becomes “vanished Rick” or “esfumado Rick” indicating a magic or unexpec- ted absence. The individualistic character representative of the American culture is replaced by the Cultural Empire that is going to nourish “the other” with the American cultural production by showing up in the culture of “the other” where “this other” is no longer there. The political ideals were translated to these cultures without taking into account the cultural traditions and local ways of life. This imposition is presented in a beneficial or salutary tone as the framework of the new structure of exchange that will end up not prospering because “the other” simply is not present because nobody bothered to invite him or her to this encounter. “The other” was simply asked to acquiesce to the demands presented under the pretense of seeking “the other’s” wellbeing. In this way, the “negrito” narrator describes Rick as “amnesiac Rick” or “Amnésico Rick” since he insists on repeating the same errors of the past. “Inútil recordarte, amnésico Rick, que tu errada intuición sobre “el principio de una hermosa amistad” entre los hombres, léase “It is useless to remember you, amnesiac Rick, that your erroneous intuition about “the beginning of a wonderful friend-