Ocampo's works. The concept of reflexivity can be defined, in terms of literal objects, as a representation of " . . . identity and otherness," and as a link with other texts. In her collection of short stories La furia, the repetition of objects such as mirrors, light, glass objects, and clocks is observed. The use of reflected light and the objects that reflect it are found many times throughout the works. Some authors such as María Dolores Rajoy Feijoo interpret these reflective objects, such as mirrors and watches, as vehicles of self-reflexivity, and the modified and reproduced identity, in the fantastic tales of Ocampo: "Instead of seeing the reflected room, I saw something outside in the mirror, a dome, a kind of temple with yellow columns and, deep down, inside some niches in the wall, divinities. I was undoubtedly the victim of an illusion" (Cornelia in front of the mirror). Childhood Childhood is a recurring theme in Ocampo's tales. Although the use of the infantile perspective is something in common with other Latin American authors, Ocampo is distinguished by her perversion of the infantile perspective. Childhood's sense of perversion has led many critics to make psychological connections between her tales and Freudian theories. According to Fiona Joy Mackintosh, Freud's ideas, specifically his ideas about dreams, the taboo, and the polymorphous perversion of children, are some of the key elements that lurk as a ubiquitous harbinger within the lines of text in Ocampo's stories. Ocampo also experiments with the consequences of living in a world separated from adult society in "La raza inextinguible,” but she also explores elements involved in the aging process and alludes that there are positive effects implicit in the characters who mix childhood traits with those of adults. One of her most notable works on the theme of childhood perversion is "El pecado mortal,” which recounts the deception of a girl by a servant. Then the girl makes her first communion without confessing her sin. Some critics have interpreted this story as an intercession of the perversion of childhood, the awakening of sexual identity, and the incorporation of various social classes and the subversion of power that these sexual acts entail. Metamorphosis In many of her stories, Ocampo uses physical and psychological changes (characterized as metamorphosis) to transform many of her characters. These include the transition from people to plants (the human-plant hybridism in "Sabanas de