Seite - 123 - in Mobile Culture Studies - The Journal, Band 4/2018

Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures 123 and the narrative in parallel, while at the same time points to the journey of the literature that being originated in the Moroccan space is written in Spanish indicating that “ the relationship most intimate and absolute of a writer is the language that he chooses for writing his story” “la filiación más rotunda e íntima de un escritor es el idioma en que escribe,” (Cerezales 2004:13). This literary story connects with other cultural and social histories that intercepted the Moroc- can History at different times. This narrative is anchored at the intersection and convergence of multiple voices and cul- tural and historical characters that the Moroccan memory evokes. It is in this frame that this literary journey begins conjuring adventure and the local flavor, movement and that which is permanent. Danger, risk, and adventure belong to “the other” that came to the place “belon- ging to the self.” The perspective of the story over the fascination with the adventure is presen- ted from the local point of view that witnesses the arrival of the “exoticism” and live it as a sort of adventure to see what belongs to the “self” in the hands of the “stranger” and rediscovers it with a new vision of it. The retrospective vision of the exchange in a national space that beco- mes a transcultural space as it incorporates itself to the “space of the other” merging into this new space anachronic references coming from a present time that evaluates and analyzes the transcultural experience that his memory provides because it has been preserved in intercultu- ral spaces like the cinematographic space. The travel, like the transcultural space, opens up an opportunity for personal growth through cultural exchanges that materializes in the contact with “the other.” In this story there are parallels to the biblical narrative of the story of the Good Samaritan. It seems that the narrator searched in each of the characters of the adventures a rede- emable character that through his or her actions would show consideration for the well being of “the other” rather than taking advantage of “the other.” It seems that the “Good Samaritan” does not show up, instead a series of characters take advantage of the local character to satisfy a selfish intention. “Ni que decir tiene, Rick, que lo nuestro es un incesante fluir de incurables desencan- tos e incontenibles efusiones.” (Cerezales 2004:58) “No need to say, Rick, that ours is an inces- sant flow of incurable disenchantments and effusions.” (Translation by the author) The image of “incurable disenchantments” paints the story with pessimism that echoes the results of the successive stories and collective histories that repeat themselves in an “incessant flow” of contradictory results and frustrations that consolidate in each encounter with “the other.” Amé… Rick using the pessimistic tone, aims to foster a reflection in the reader, that having responded to the invitation to participate in the transliterary event, could participate in a positive way as the narrator alerts him of previous meeting that ended up with frustrating results. The image of the “incessant flow” testifies of the frequency throughout the history of transcultural encounters whose protagonists reject to accept any more disenchantment while searching to achieve positive outcomes for both parties. Casablanca and Amé…Rick present different cultural characters, different times, different interests, all of them pointing to establish once and for all a real productive exchange for both parties. It is ironic that that while in reality many of the transcultural encounters fail, once they are extrapolated to the literary narrative, they point to building a positive outcome since the story promotes a transliterary encounter and