She Lived In a Story plays heavily upon Jahn’s ideology of a matrix narrative. The entire narrative is situated upon a third-degree narrative and the characters in question create each other’s reality. This is most apparent through Sevogia, Samperio, and Ofelia’s writing of each other. They are all characters in each other’s story and although they live in each individual reality, the reality of which has been warped and demented. This is readily seen through the transition between the narrators and their each individual narratives.

“As he shut off the engine, he decided that the woman in this story would be a young actress whom he admired, for her performances and her extraordinary beauty. Furthermore, the actress somewhat resembled the painter Frida Kahlo, who painted herself in the dreams of her paintings, another way to live in one’s own fiction. Even though Segovia did not give a title to his works before writing them on this occasion he had an urge to do so. “She lived in a Story” would be the title of his tale; the woman’s name, just like the actress from reality, would be Ofelia.”(Samperio 57)

However Samperio does an odd thing by letting the realities come together towards the end of She Lived in a Story Everything collapses upon itself as the characters eventually meet up with each other in the end. In truth the matrix narrative and the third degree narratives meld away and fall apart as the story comes to a conclusion; the third degree narrative is no more.

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