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Antagonэa is not a simple novel, nor can any explication of it be accomplished using simple, direct approaches. One may say that Goytisolo has written an extensive novel that serves as a metaphor or parable about the chaos of life and the individual’s attempt to give it form. Or it may be said that he has written a novel about power and knowledge as seen through the structure and nature of language. Another view would be to consider the ways in which Goytisolo demonstates the extent to which humans can, and cannot, represent themselves in the world. All of these interpretations and many others are legitimate. The thread that ties them all together, however, is contained within the word “process.” Actions, language, relation-ships, the human perception of time and space, all are made up of processes linked together in the mind in an evolving series of complex structures that give life whatever meaning it has to each of us. The human perception of the life experience can be summarized in a series of paradoxes that are incorporated into the novel. In Antagonэa, Zeno’s paradoxes continue to have validity. Like Achilles, we can never catch up to the tortoise of reality. It moves relentlessly forward, while our perceptions are always racing to catch up but, inevitably, they are forever a half-step (or sometimes light years) behind. Like Zeno’s arrow, we perceive movement and stasis in an inversion of the way in which they truly occur. And the paradox expressed in Las Meninas, that of the need to be inside and outside the frame simultaneously, to find that place where one is able to reflect and comprehend the totality and complexity of existence, may well be resolved only from a point beyond the limitations of perception in life, but certainly not during it. We are still looking for Dante’s circle where heaven and hell touch. While we recognize and fight against the restrictions placed upon us by perception, consciousness of our individuality and humanity continues to engage us in an on-going exploration of those hidden regions where perhaps only a Pythagorean appreciation of mystery, intuition, essence, and symbol can gain for us a limited access. For that search, a connection is necessary with the music of the spheres and with objects, spaces, and other living beings. We are looking across a room and through its window to a wooded mountainside, never too sure where to focus our eyes to answer questions we have not yet even been able to imagine. We are not even certain if the questions or their answers are directed to us. Still, we search. When an author writes a text and a reader chooses to read it, a kind of contract is effected between them. Through the words of the text, each of them seeks to fulfill an expectation, to enter into a dialogue which will bring them closer to an understanding of some-thing in their lives, even if it is only what gives them pleasure. The text activates that dialogue; it serves as an objectified point into which the author and reader can project themselves and allow the images, symbols, and structures within it to open them up to new ideas. The elements that form Antagonэa combine in an almost chemical sense to activate an awakening process that begins in the active consciousness of an individual as he learns and makes connections between perception, thought, feeling, and the imagination. It expands through an increasing ability to learn from and to interrelate all that experience and imagination provide until the resulting flow of energy emerges in the form of a text that has the potential to alter the experience and imagination of others. In this study I hope to have demonstrated the extent to which Luis Goytisolo has achieved the intergration and cohesion of form and meaning in Antagonэa. The interrelationships of the various elements, both within and external to the text, offer the reader an insight into and engagement with the complexity of existence. In this novel, the author has used images that, although imminently literary, go beyond the boundaries of literature to engage actively in the life experience. It has been mentioned throughout this book that Antagonэa’s form and themes blur or erase the ideological boundaries that have served to separate and place at odds with one another such concepts as reality and fiction, truth and falsehood, biography and autobiography, etc. In addition, it manages to narrow the perceived gap between the workings of science and literature by demonstrating that myths are not always lies, nor are they a means of insulating ourselves in an eternal, if unreal, realm where change can never touch us. Contrary to the idea that myths immobilize the world, Goytisolo demonstrates their transformational nature as a vehicle that allows humans to con-front change, to prefigure the future in symbolic terms, and then to participate in the inevitable change that is being. Through the capacity for autogenic imagery, humankind is an active agent in the changes in reality. By imagining it now, it can be made so in the future. There are inevitable consequences to those actions, often unforeseen; but one thing is certain: humans are not passive observers of a film being played before their eyes. They are agents, thoroughly emmeshed in the reality they are creating simply by living it. One purpose of great works of art is to make this clear to us. They touch many levels along the evolutionary paths that still exist within us so as to make us aware of thoughts, emotions, and physical sensations of which we were previously unconscious, or to make us understand them from new perspectives. We are changed by them and that change affects others in its wake. Goytisolo stated his intent through Raњl’s words in Antagonэa . He wished to create: Un libro que fuera, no referencia de la realidad sino, como la realidad, objeto de posibles referencias, mundo autѓnomo sobre el cual, teѓrica-mente, un lector con impulsos creadoras, pudiera escribir a su vez una novela, o un poema, liberador de temas y de formas, creaciѓn de creaciones. (I 576-577) In an interview with Fernando Valls, Luis Goytisolo stated: “Hay tres caracterэsticas fundamentales que espero haber conseguido en gran parte de lo que he escrito: intensidad, tensiѓn, sin la que no puede haber intensidad, y polivalencia, que te permite por un lado un juego estructural y por otro avanzar” (89). In Antagonэa, as we have seen in this study, Goytisolo has certainly accomplished this goal.  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