Seite - 119 - in Mobile Culture Studies - The Journal, Band 4/2018

Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures 119 Starting with the space that collects the narratives suggests a transcultural space since a door is the meeting place, at the threshold between two cultures, the Moroccan and the Spa- nish cultures. A door constitutes an access consequently it connotes the trans- aspect of the transition that stops or pauses at this place in order to meet “the other.” Generally the doors that connect two physical spaces are used also as a symbol of entrance to spiritual spaces of great meaning given their characteristics of opening and closing spaces, of revealing and hiding at the same time. In this description the door presents a character that controls it: the wind. The wind in order to circulate in freedom requires that the door remains open. Since the wind is an unpredictable element, to a certain extent ensures the permanent position of being open that given its location also warrants a permanent circulation of the wind. The wind is an image of the “spirit” of the people thus in this symbol merge the physical and the spiritual giving the encounter a deeper meaning. Beyond being a literary space where the intimate human thought is hosted it also represents the physical world of the cultural spaces that associate with the guests of this transcultural event recorded in a narrative that announces itself in a tranliterary framework since the Moroccan author will approach the American world through the spirit of a cinematographic production of the 40’s the film Casablanca. In the prologue of this book it is mentioned that this door is close to the sea. “Una de las historias que se cuentan para explicar su nombre dice que éste se debe a que la puerta se halla próxima al mar y que allí se nota especialmente la brisa oceánica.” (Cerezales 2004:11) “One of the stories that are told in order to explain its name, indicates that this is due to the fact that the door is close to the sea and that in this door it is especially noticea- ble the ocean breeze.” (Translation by the author) The literary spaces are explained through the literary narrative since they are transcultural spaces that host the transliteratures. These spaces are spaces of transit that are anchored in nature associating the Mediterranean Sea to the Mediterranean wind. The natural and physical space of the Mediterranean Sea and the characteristic winds announce the transience of a space of great circulation of vessels that converge in this sea to pursue all kinds of enterprises, from commerce to tourism or scientific missions. The great circulation and transit make this space an ideal place to the meeting of cultures and literatures that circulate and navigate converging temporally in a shared space. It also suggests a limited temporality of these encounters because the space that they share is always an unstable space of transit. This very image we find in the biblical narrative of the creation of the world where it is narrated that God designed the world in three spheres: the sky or heavens, the land and the ocean. “In the beginning God created the heavens and the earth. The earth was without form, and void; and darkness was on the face of the deep. And the Spirit of God was hovering over the face of the waters.” (Gen. 1:1-2, NKJV) In this way the beginning of the biblical narrative and this compilation of stories coincide in mentioning the same elements that would suggest similar demarcations of the physical and literary spaces. The image of the spirit of God hovering over the surface of the waters coincides