Throughout an analysis of the short story "Lejana, diario de Alina Reyes", published en 1951 by Julio Cortazar and written in first person femenine, it can be appreciated up to what stage the word, the literary word, has the power to construct diverse realities. Even though, these realities do not constitute an infinite and parallel series of possible worlds, letting fantasy flow side by side with reality, it demostrates that between this world and that one, between what is real and what is written, between here and there, a constant, continuous and reciprocal communication is established. Words, with their multiple characteristics (their sounds, their graphs, their literal, associative and symbolic meanings), start beloging to those objects of the world which we call real, just like the cities, the rivers that flow through those cities, the people and friends who live there, modifyng our own selves and aur lives. At least this is what short stories as "Lejana" are teaching us to recognize in literature. [ABSTRACT FROM AUTHOR]

A través del análisis del cuento Lejana, diario de Alina Reyes, publicado en 1951 por Julio Cortázar y escrito en primera persona femenina, se puede averiguar hasta qué punto la palabra, la palabra literaria, tiene el poder de construir mundos. Éstos no constituyen, sin embargo, una serie infinita y paralela de mundos posibles, al dejar que lo fantástico viaje al lado de lo real, sino que entre este mundo y aquel, entre lo real y lo escrito, el acá y el allá, se crea una constante y continua comunicación recíproca. Las palabras, con sus múltiples aspectos (sus sonidos, sus grafías, sus significados literales, asociativos y simbólicos), entran a hacer parte de los objetos del mundo que llamamos real, así como las ciudades, los ríos que atraviesan esas ciudades, las personas y los seres queridos que viven allí, modificando nuestras vidas y a nosotros mismos. Esto por lo menos es lo que cuentos como Lejana nos enseñan a reconocer en la literatura. [ABSTRACT FROM AUTHOR]

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