The Info List - Jorge Luis Borges

Jorge Francisco Isidoro Luis Borges Acevedo KBE (/ˈbɔːrhɛs/;[1] Spanish: [ˈxorxe ˈlwis ˈborxes]  audio (help·info); 24 August 1899 – 14 June 1986) was an Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish-language literature. His best-known books, Ficciones (Fictions) and El Aleph (The Aleph), published in the 1940s, are compilations of short stories interconnected by common themes, including dreams, labyrinths, libraries, mirrors, fictional writers, philosophy, and religion.[2] Borges' works have contributed to philosophical literature and the fantasy genre. Critic Ángel Flores, the first to use the term magical realism to define a genre that reacted against the dominant realism and naturalism of the 19th century,[3] considers the beginning of the movement to be the release of Borges' A Universal History of Infamy (Historia universal de la infamia).[3][4] However, some critics consider Borges to be a predecessor and not actually a magical realist. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil. In 1914, Borges' family moved to Switzerland, where he studied at the Collège de Genève. The family travelled widely in Europe, including Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955, he was appointed director of the National Public Library and professor of English Literature at the University of Buenos Aires. He became completely blind by the age of 55; as he never learned braille, he became unable to read. Scholars have suggested that his progressive blindness helped him to create innovative literary symbols through imagination.[Notes 1] In 1961, he came to international attention when he received the first Formentor prize (Prix International), which he shared with Samuel Beckett. In 1971, he won the Jerusalem Prize. His work was translated and published widely in the United States and Europe. Borges himself was fluent in several languages. He dedicated his final work, The Conspirators, to the city of Geneva, Switzerland.[5] His international reputation was consolidated in the 1960s, aided by his works being available in English, by the Latin American Boom
Latin American Boom
and by the success of García Márquez's One Hundred Years of Solitude.[6] Writer and essayist J. M. Coetzee
J. M. Coetzee
said of him: "He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish American novelists."[7]


1 Life and career

1.1 Early life and education 1.2 Early writing career 1.3 Later career 1.4 International renown 1.5 Later personal life

2 Death 3 Legacy 4 Political opinions

4.1 Anti-communism 4.2 Anti-fascism 4.3 Anti-Peronism 4.4 Military junta

5 Works

5.1 Hoaxes and forgeries 5.2 Criticism of Borges' work 5.3 Sexuality 5.4 Nobel Prize omission

6 Fact, fantasy and non-linearity

6.1 Borgesian conundrum

7 Culture and Argentine literature

7.1 Martín Fierro
Martín Fierro
and Argentine tradition 7.2 Argentine culture 7.3 Multicultural influences

8 Influences

8.1 Modernism 8.2 Political influences 8.3 Mathematics 8.4 Philosophy

9 Ancestry 10 Notes 11 References 12 Further reading

12.1 Documentaries

13 External links

Life and career[edit] Early life and education[edit] Jorge Francisco Isidoro Luis Borges Acevedo was born into an educated middle-class family on 24 August 1899. They were in comfortable circumstances but not wealthy enough to live in downtown Buenos Aires so the family resided in Palermo, then a poorer suburb. Borges's mother, Leonor Acevedo Suárez, came from a traditional Uruguayan family of criollo (Spanish) origin. Her family had been much involved in the European settling of South America and the Argentine War of Independence, and she spoke often of their heroic actions.[8] His 1929 book, Cuaderno San Martín, includes the poem "Isidoro Acevedo", commemorating his grandfather, Isidoro de Acevedo Laprida, a soldier of the Buenos Aires
Buenos Aires
Army. A descendant of the Argentine lawyer and politician Francisco Narciso de Laprida, de Acevedo Laprida fought in the battles of Cepeda in 1859, Pavón in 1861, and Los Corrales in 1880. De Acevedo Laprida died of pulmonary congestion in the house where his grandson Jorge Luis Borges
Jorge Luis Borges
was born. Borges's own father, Jorge Guillermo Borges Haslam (24 February 1874 – 14 February 1938)[9] was a lawyer, and wrote a novel El caudillo in 1921. Borges Haslam was born in Entre Rios of Spanish, Portuguese, and English descent, the son of Francisco Borges Lafinur, a colonel, and Frances Ann Haslam, an Englishwoman. Borges Haslam grew up speaking English at home. The family frequently traveled to Europe. Borges Haslam wed Leonor Acevedo Suarez
Leonor Acevedo Suarez
in 1898 and was also father of the painter Norah Borges, sister of Jorge Luis Borges.[8] At age nine, Jorge Luis Borges
Jorge Luis Borges
translated Oscar Wilde's The Happy Prince into Spanish. It was published in a local journal, but Borges' friends thought the real author was his father.[10] Borges Haslam was a lawyer and psychology teacher who harboured literary aspirations. Borges said his father "tried to become a writer and failed in the attempt", despite the 1921 opus El caudillo. Jorge Luis Borges
Jorge Luis Borges
wrote, "as most of my people had been soldiers and I knew I would never be, I felt ashamed, quite early, to be a bookish kind of person and not a man of action."[8] Jorge Luis Borges
Jorge Luis Borges
was taught at home until the age of 11, was bilingual in Spanish and English, reading Shakespeare
in the latter at the age of twelve.[8] The family lived in a large house with an English library of over one thousand volumes; Borges would later remark that "if I were asked to name the chief event in my life, I should say my father's library."[11] His father gave up practicing law due to the failing eyesight that would eventually afflict his son. In 1914, the family moved to Geneva, Switzerland, and spent the next decade in Europe.[8] Borges Haslam was treated by a Geneva
eye specialist, while Jorge Luis and his sister Norah attended school; there Jorge Luis learned French. He read Thomas Carlyle in English, and he began to read philosophy in German. In 1917, when he was eighteen, he met writer Maurice Abramowicz and began a literary friendship that would last for the remainder of his life.[8] He received his baccalauréat from the Collège de Genève
Collège de Genève
in 1918.[12][Notes 2] The Borges family decided that, due to political unrest in Argentina, they would remain in Switzerland
during the war. After World War I, the family spent three years living in various cities: Lugano, Barcelona, Majorca, Seville, and Madrid.[8] They remained in Europe until 1921. At that time, Borges discovered the writings of Arthur Schopenhauer and Gustav Meyrink's The Golem (1915) which became influential to his work. In Spain, Borges fell in with and became a member of the avant-garde, anti- Modernismo Ultraist literary movement, inspired by Guillaume Apollinaire
Guillaume Apollinaire
and Filippo Tommaso Marinetti, close to the Imagists. His first poem, "Hymn to the Sea," written in the style of Walt Whitman, was published in the magazine Grecia.[13] While in Spain, he met such noted Spanish writers as Rafael Cansinos Assens
Rafael Cansinos Assens
and Ramón Gómez de la Serna.[14] Early writing career[edit]

Adolfo Bioy Casares, Victoria Ocampo and Borges in 1935

In 1921, Borges returned with his family to Buenos Aires. He had little formal education, no qualifications and few friends. He wrote to a friend that Buenos Aires
Buenos Aires
was now "overrun by arrivistes, by correct youths lacking any mental equipment, and decorative young ladies".[8] He brought with him the doctrine of Ultraism and launched his career, publishing surreal poems and essays in literary journals. Borges published his first published collection of poetry, Fervor de Buenos Aires, in 1923 and contributed to the avant-garde review Martín Fierro. Borges co-founded the journals Prisma, a broadsheet distributed largely by pasting copies to walls in Buenos Aires, and Proa. Later in life, Borges regretted some of these early publications, attempting to purchase all known copies to ensure their destruction.[15] By the mid-1930s, he began to explore existential questions and fiction. He worked in a style that Argentine critic Ana María Barrenechea has called "Irreality". Many other Latin American writers, such as Juan Rulfo, Juan José Arreola, and Alejo Carpentier, were investigating these themes, influenced by the phenomenology of Husserl and Heidegger, and the existentialism of Jean-Paul Sartre. In this vein, his biographer Edwin Williamson underlines the danger in inferring an autobiographically-inspired basis for the content or tone of certain of his works: books, philosophy and imagination were as much a source of real inspiration to him as his own lived experience, if not more so.[8] From the first issue, Borges was a regular contributor to Sur, founded in 1931 by Victoria Ocampo. It was then Argentina's most important literary journal and helped Borges find his fame.[16] Ocampo introduced Borges to Adolfo Bioy Casares, another well-known figure of Argentine literature, who was to become a frequent collaborator and close friend. They wrote a number of works together, some under the nom de plume H. Bustos Domecq, including a parody detective series and fantasy stories. During these years, a family friend, Macedonio Fernández, became a major influence on Borges. The two would preside over discussions in cafés, country retreats, or Fernandez's tiny apartment in the Balvanera
district. He appears by name in Borges's Dialogue about a Dialogue,[17] in which the two discuss the immortality of the soul. In 1933, Borges gained an editorial appointment at Revista Multicolor de los Sábados (the literary supplement of the Buenos Aires
Buenos Aires
newspaper Crítica), where he first published the pieces collected as Historia universal de la infamia (A Universal History of Infamy) in 1935.[8] The book includes two types of writing: the first lies somewhere between non-fictional essays and short stories, using fictional techniques to tell essentially true stories. The second consists of literary forgeries, which Borges initially passed off as translations of passages from famous but seldom-read works. In the following years, he served as a literary adviser for the publishing house Emecé Editores, and from 1936-39 wrote weekly columns for El Hogar. In 1938, Borges found work as first assistant at the Miguel Cané Municipal Library. It was in a working class area[18] and there were so few books that cataloguing more than one hundred books per day, he was told, would leave little to do for the other staff and so look bad. The task took him about an hour each day and the rest of his time he spent in the basement of the library, writing and translating.[8] Later career[edit]

Borges in the 1940s

Borges's father died in 1938, shortly before his 64th birthday. On Christmas Eve that year, Borges suffered a severe head injury; during treatment, he nearly died of septicemia. While recovering from the accident, Borges began playing with a new style of writing for which he would become famous. His first story written after his accident, "Pierre Menard, Author of the Quixote", came out in May 1939. One of his most famous works, "Menard", examines the nature of authorship, as well as the relationship between an author and his historical context. His first collection of short stories, El jardín de senderos que se bifurcan (The Garden of Forking Paths), appeared in 1941, composed mostly of works previously published in Sur.[8] The title story concerns a Chinese professor in England, Dr. Yu Tsun, who spies for Germany during World War I, in an attempt to prove to the authorities that an Asian person is able to obtain the information that they seek. A combination of book and maze, it can be read in many ways. Through it, Borges arguably invented the hypertext novel and went on to describe a theory of the universe based upon the structure of such a novel.[19][20] Eight stories taking up over sixty pages, the book was generally well received, but El jardín de senderos que se bifurcan failed to garner for him the literary prizes many in his circle expected.[21][22] Victoria Ocampo dedicated a large portion of the July 1942 issue of Sur to a "Reparation for Borges". Numerous leading writers and critics from Argentina and throughout the Spanish-speaking world contributed writings to the "reparation" project. With his vision beginning to fade in his early thirties and unable to support himself as a writer, Borges began a new career as a public lecturer.[Notes 3][23][24] He became an increasingly public figure, obtaining appointments as President of the Argentine Society of Writers and as Professor of English and American Literature at the Argentine Association of English Culture. His short story "Emma Zunz" was made into a film (under the name of Días de odio, Days of Hate, directed in 1954 by Leopoldo Torre Nilsson).[25] Around this time, Borges also began writing screenplays. In 1955, he was nominated to the directorship of the National Library. By the late 1950s, he had become completely blind. Neither the coincidence nor the irony of his blindness as a writer escaped Borges:[8]

Nadie rebaje a lágrima o reproche esta declaración de la maestría de Dios, que con magnífica ironía me dio a la vez los libros y la noche.

No one should read self-pity or reproach Into this statement of the majesty Of God; who with such splendid irony, Granted me books and night at one touch.[26]

His later collection of poetry, Elogio de la Sombra (In Praise of Darkness),[27] develops this theme. In 1956 the University of Cuyo awarded Borges the first of many honorary doctorates and the following year he received the National Prize for Literature .[28] From 1956 to 1970, Borges also held a position as a professor of literature at the University of Buenos Aires
Buenos Aires
and other temporary appointments at other universities.[28] In the fall of 1967 and spring of 1968, he delivered the Charles Eliot Norton Lectures at Harvard University.[29] As his eyesight deteriorated, Borges relied increasingly on his mother's help.[28] When he was not able to read and write anymore (he never learned to read Braille), his mother, to whom he had always been close, became his personal secretary.[28] When Perón returned from exile and was re-elected president in 1973, Borges immediately resigned as director of the National Library.[30] International renown[edit]


Eight of Borges's poems appear in the 1943 anthology of Spanish American Poets by H.R. Hays.[31][Notes 4] "The Garden of Forking Paths", one of the first Borges stories to be translated into English, appeared in the August 1948 issue of Ellery Queen's Mystery Magazine, translated by Anthony Boucher.[32] Though several other Borges translations appeared in literary magazines and anthologies during the 1950s (and one story appeared in the science fiction magazine Fantastic Universe
Fantastic Universe
in 1960),[33] his international fame dates from the early 1960s.[34] In 1961, Borges received the first Prix International, which he shared with Samuel Beckett. While Beckett had garnered a distinguished reputation in Europe and America, Borges had been largely unknown and untranslated in the English-speaking world and the prize stirred great interest in his work. The Italian government named Borges Commendatore and the University of Texas at Austin
University of Texas at Austin
appointed him for one year to the Tinker Chair. This led to his first lecture tour in the United States. In 1962, two major anthologies of Borges's writings were published in English by New York presses: Ficciones and Labyrinths. In that year, Borges began lecture tours of Europe. Numerous honors were to accumulate over the years such as a Special
Edgar Allan Poe
Edgar Allan Poe
Award from the Mystery Writers of America "for distinguished contribution to the mystery genre" (1976),[35] the Balzan Prize
Balzan Prize
(for Philology, Linguistics and literary Criticism) and the Prix mondial Cino Del Duca, the Cervantes Prize
Cervantes Prize
(all 1980), as well as the French Legion of Honour (1983) and the Diamond Konex Award for Literature Arts as the most important writer in the last decade in his country.

At L'Hôtel, Paris, 1968

In 1967, Borges began a five-year period of collaboration with the American translator Norman Thomas di Giovanni, through whom he became better known in the English-speaking world.[citation needed] He continued to publish books, among them El libro de los seres imaginarios (Book of Imaginary Beings, 1967, co-written with Margarita Guerrero), El informe de Brodie (Dr. Brodie's Report, 1970), and El libro de arena (The Book of Sand, 1975). He lectured prolifically. Many of these lectures were anthologized in volumes such as Siete noches (Seven Nights) and Nueve ensayos dantescos (Nine Dantesque Essays).[citation needed] His presence in 1967 on campus at the University of Virginia, Charlottesville influenced a group of students among whom was Jared Loewenstein, who would later become founder and curator of the Jorge Luis Borges Collection at UVA,[36] one of the largest repositories of documents and manuscripts pertaining to the early works of JLB.[37] In 1984, he travelled to Athens, Greece and later to Rethymnon, Crete where he was awarded an honorary doctorate from the School of Philosophy at University of Crete.[38] Later personal life[edit]

María Kodama
María Kodama
at the 2010 Frankfurt Book Fair

In 1967, Borges married the recently widowed Elsa Astete Millán. Friends believed that his mother, who was 90 and anticipating her own death, wanted to find someone to care for her blind son. The marriage lasted less than three years. After a legal separation, Borges moved back in with his mother, with whom he lived until her death at age 99.[39] Thereafter, he lived alone in the small flat he had shared with her, cared for by Fanny, their housekeeper of many decades.[40] From 1975 until the time of his death, Borges traveled internationally. He was often accompanied in these travels by his personal assistant María Kodama, an Argentine woman of Japanese and German ancestry. In April 1986, a few months before his death, he married her via an attorney in Paraguay, in what was then a common practice among Argentines
wishing to circumvent the Argentine laws of the time regarding divorce. On his religious views, Borges declared himself an agnostic, clarifying: "Being an agnostic means all things are possible, even God, even the Holy Trinity. This world is so strange that anything may happen, or may not happen."[41] Death[edit]

Borges' grave, Cimetière des Rois, Plainpalais, Geneva.

During his final days in Geneva, Borges began brooding about the possibility of an afterlife. Although calm and collected about his own death, Borges began probing Kodama as to whether she inclined more towards the Shinto
beliefs of her father or the Catholicism
of her mother. Kodama "had always regarded Borges as an Agnostic, as she was herself", but given the insistence of his questioning, she offered to call someone more "qualified".[42] Borges responded, "You are asking me if I want a priest." He then instructed her to call two clergymen, a Catholic priest, in memory of his mother, and a Protestant minister, in memory of his English grandmother. He was visited first by Father Pierre Jacquet and by Pastor Edouard de Montmollin.[42] Borges died of liver cancer on 14 June 1986, aged 86, in Geneva. His burial was preceded by an ecumenical service at the Protestant Cathédrale de Saint Pierre on 18 June. With many Swiss and Argentine dignitaries present, Pastor de Montmollin read the First Chapter of St John's Gospel. He then preached that "Borges was a man who had unceasingly searched for the right word, the term that could sum up the whole, the final meaning of things." He explained, however, that no man can reach that word through his own efforts and in trying becomes lost in a labyrinth. Pastor de Montmollin concluded, "It is not man who discovers the word, it is the Word that comes to him."[43] Father Jacquet also preached, saying that, when visiting Borges before his death, he had found "a man full of love, who received from the Church the forgiveness of his sins".[44][45] After the funeral, Borges was laid to rest in Geneva's Cimetière de Plainpalais. His grave, marked by a rough-hewn headstone, is adorned with carvings derived from Anglo-Saxon and Old Norse
Old Norse
art and literature.[46] Legacy[edit] Kodama, his widow and heir on the basis of the marriage and two wills, gained control over his works. Her assertive administration of his estate resulted in a bitter dispute with the French publisher Gallimard
regarding the republication of the complete works of Borges in French, with Pierre Assouline
Pierre Assouline
in Le Nouvel Observateur
Le Nouvel Observateur
(August 2006) calling her "an obstacle to the dissemination of the works of Borges". Kodama took legal action against Assouline, considering the remark unjustified and defamatory, asking for a symbolic compensation of one euro.[47][48][49] Kodama also rescinded all publishing rights for existing collections of his work in English, including the translations by Norman Thomas di Giovanni, in which Borges himself collaborated, and from which di Giovanni would have received an unusually high fifty percent of the royalties. Kodama commissioned new translations by Andrew Hurley, which have become the standard translations in English.[50] Political opinions[edit] During a 1971 conference at Columbia University, a creative writing student asked Borges what he regarded as "a writer's duty to his time". Borges replied, "I think a writer's duty is to be a writer, and if he can be a good writer, he is doing his duty. Besides, I think of my own opinions as being superficial. For example, I am a Conservative, I hate the Communists, I hate the Nazis, I hate the anti-Semites, and so on; but I don't allow these opinions to find their way into my writings—except, of course, when I was greatly elated about the Six Days' War. Generally speaking, I think of keeping them in watertight compartments. Everybody knows my opinions, but as for my dreams and my stories, they should be allowed their full freedom, I think. I don't want to intrude into them, I'm writing fiction, not fables."[51] Anti-communism[edit]

Borges and Argentine writer Ernesto Sabato.

In an interview with Richard Burgin during the late 1960s, Borges described himself as a "mild" adherent of classical liberalism. He further recalled that his opposition to Marxism
and communism was absorbed in his childhood. "Well, I have been brought up to think that the individual should be strong and the State should be weak. I couldn't be enthusiastic about theories where the State is more important than the individual."[52] After the overthrow via coup d'état of President Juan Domingo Perón
Juan Domingo Perón
in 1955, Borges supported efforts to purge Argentina's Government of Peronists and dismantle the former President's welfare state. He was enraged that the Communist Party of Argentina opposed these measures and sharply criticized them in lectures and in print. Borges's opposition to the Party in this matter ultimately led to a permanent rift with his longtime lover, Argentine Communist Estela Canto.[53] In a 1956 interview given to El Hogar, "[Communists] are in favor of totalitarian regimes and systematically combat freedom of thought, oblivious of the fact that the principal victims of dictatorships are, precisely, intelligence and culture."[54] He elaborated, "Many people are in favor of dictatorships because they allow them to avoid thinking for themselves. Everything is presented to them ready-made. There are even agencies of the State that supply them with opinions, passwords, slogans, and even idols to exalt or cast down according to the prevailing wind or in keeping with the directives of the thinking heads of the single party."[55] In later years, Borges frequently expressed contempt for Marxist and Communist authors, poets, and intellectuals. In an interview with Burgin, Borges referred to Chilean poet Pablo Neruda
Pablo Neruda
as "a very fine poet" but a "very mean man" for unconditionally supporting the Soviet Union and demonizing the United States. Borges commented about Neruda, "Now he knows that's rubbish."[56] In the same interview, Borges also criticized famed Marxist poet and playwright Federico Garcia Lorca, who was abducted by Nationalist soldiers and executed without trial during the Spanish Civil War. In Borges' opinion, Lorca's poetry and plays, when examined against his tragic death, appeared better than they actually were.[57] Anti-fascism[edit] In 1934, Argentine ultra-nationalists, sympathetic to Adolf Hitler
Adolf Hitler
and the Nazi Party, asserted Borges was secretly Jewish, and by implication, not a true Argentine. Borges responded with the essay "Yo, Judío" ("I, a Jew"), a reference to the old "Yo, Argentino" ("I, an Argentine"), a defensive phrase used during pogroms of Argentine Jews to make it clear to attackers that an intended victim was not Jewish.[58] In the essay he says that he would be proud to be a Jew, with a backhanded reminder that any pure Castilian might be likely to have Jewish ancestry from a millennium ago.[58] Both before and during the Second World War, Borges regularly published essays attacking the Nazi police state and its racist ideology. His outrage was fueled by his deep love for German literature. In an essay published in 1937, Borges attacked the Nazi Party's use of children's books to inflame antisemitism. He wrote, "I don't know if the world can do without German civilization, but I do know that its corruption by the teachings of hatred is a crime."[59] In a 1938 essay, Borges reviewed an anthology which rewrote German authors of the past to fit the Nazi party line. He was disgusted by what he described as Germany's "chaotic descent into darkness" and the attendant rewriting of history. He argued that such books sacrificed the German people's culture, history and integrity in the name of restoring their national honour. Such use of children's books for propaganda he writes, "perfect the criminal arts of barbarians."[60] In a 1944 essay, Borges postulated,

Nazism suffers from unreality, like Erigena's hell. It is uninhabitable; men can only die for it, lie for it, wound and kill for it. No one, in the intimate depths of his being, can wish it to triumph. I shall risk this conjecture: Hitler wants to be defeated. Hitler is blindly collaborating with the inevitable armies that will annihilate him, as the metal vultures and the dragon (which must have known that they were monsters) collaborated, mysteriously, with Hercules."[61]

In 1946, Borges published the short story "Deutsches Requiem", which masquerades as the last testament of a condemned Nazi war criminal named Otto Dietrich zur Linde. In a 1971 conference at Columbia University, Borges was asked about the story by a student from the creative writing program. He recalled, "When the Germans were defeated I felt great joy and relief, but at the same time I thought of the German defeat as being somehow tragic, because here we have perhaps the most educated people in Europe, who have a fine literature, a fine tradition of philosophy and poetry. Yet these people were bamboozled by a madman named Adolf Hitler, and I think there is tragedy there."[62] In a 1967 interview with Burgin, Borges recalled how his interactions with Argentina's Nazi sympathisers led him to create the story. He recalled, "And then I realized that those people that were on the side of Germany, that they never thought of German victories or the German glory. What they really liked was the idea of the Blitzkrieg, of London being on fire, of the country being destroyed. As to the German fighters, they took no stock in them. Then I thought, well now Germany has lost, now America has saved us from this nightmare, but since nobody can doubt on which side I stood, I'll see what can be done from a literary point of view in favor of the Nazis. And then I created the ideal Nazi."[63] At Columbia University
Columbia University
in 1971, Borges further elaborated on the story's creation, "I tried to imagine what a real Nazi might be like. I mean someone who thought of violence as being praiseworthy for its own sake. Then I thought that this archetype of the Nazis wouldn't mind being defeated; after all, defeats and victories are mere matters of chance. He would still be glad of the fact, even if the Americans and British won the war. Naturally, when I am with Nazis, I find they are not my idea of what a Nazi is, but this wasn't meant to be a political tract. It was meant to stand for the fact that there was something tragic in the fate of a real Nazi. Except that I wonder if a real Nazi ever existed. At least, when I went to Germany, I never met one. They were all feeling sorry for themselves and wanted me to feel sorry for them as well."[64] Anti-Peronism[edit] In 1946, Argentine President Juan Perón
Juan Perón
began transforming Argentina into a one-party state with the assistance of his wife, Evita. Almost immediately, the spoils system was the rule of the day, as ideological critics of the ruling Partido Justicialista
Partido Justicialista
were fired from government jobs. During this period, Borges was informed that he was being "promoted" from his position at the Miguel Cané Library to a post as inspector of poultry and rabbits at the Buenos Aires
Buenos Aires
municipal market. Upon demanding to know the reason, Borges was told, "Well, you were on the side of the Allies, what do you expect?"[65] Borges resigned the following day. Perón's treatment of Borges became a cause célèbre for the Argentine intelligentsia. The Argentine Society of Writers (SADE) held a formal dinner in his honour. At the dinner, a speech was read which Borges had written for the occasion. It said:

Dictatorships breed oppression, dictatorships breed servility, dictatorships breed cruelty; more loathsome still is the fact that they breed idiocy. Bellboys babbling orders, portraits of caudillos, prearranged cheers or insults, walls covered with names, unanimous ceremonies, mere discipline usurping the place of clear thinking ... Fighting these sad monotonies is one of the duties of a writer. Need I remind readers of Martín Fierro
Martín Fierro
or Don Segundo that individualism is an old Argentine virtue.[66]

In the aftermath, Borges found himself much in demand as a lecturer and one of the intellectual leaders of the Argentine opposition. In 1951 he was asked by anti-Peronist friends to run for president of SADE. Borges, then suffering from depression caused by a failed romance, reluctantly accepted. He later recalled that he would awake every morning and remember that Perón was President and feel deeply depressed and ashamed.[67] Perón's government had seized control of the Argentine mass media and regarded SADE with indifference. Borges later recalled, however, "Many distinguished men of letters did not dare set foot inside its doors."[68] Meanwhile, SADE became an increasing refuge for critics of the regime. SADE official Luisa Mercedes Levinson noted, "We would gather every week to tell the latest jokes about the ruling couple and even dared to sing the songs of the French Resistance, as well as 'La Marseillaise'".[68] After Evita Perón's death on 26 July 1952, Borges received a visit from two policemen, who ordered him to put up two portraits of the ruling couple on the premises of SADE. Borges indignantly refused, calling it a ridiculous demand. The policemen replied that he would soon face the consequences.[69] The Justicialist Party placed Borges under 24-hour surveillance and sent policemen to sit in on his lectures; in September they ordered SADE to be permanently closed down. Like much of the Argentine opposition to Perón, SADE had become marginalized due to persecution by the State, and very few active members remained.[citation needed] According to Edwin Williamson,

Borges had agreed to stand for the presidency of the SADE in order [to] fight for intellectual freedom, but he also wanted to avenge the humiliation he believed he had suffered in 1946, when the Peronists had proposed to make him an inspector of chickens. In his letter of 1950 to Attilio Rossi, he claimed that his infamous promotion had been a clever way the Peronists had found of damaging him and diminishing his reputation. The closure of the SADE meant that the Peronists had damaged him a second time, as was borne out by the visit of the Spanish writer Julián Marías, who arrived in Buenos Aires
Buenos Aires
shortly after the closure of the SADE. It was impossible for Borges, as president, to hold the usual reception for the distinguished visitor; instead, one of Borges' friends brought a lamb from his ranch, and they had it roasted at a tavern across the road from the SADE building on Calle Mexico. After dinner, a friendly janitor let them into the premises, and they showed Marías around by candlelight. That tiny group of writers leading a foreign guest through a dark building by the light of guttering candles was vivid proof of the extent to which the SADE had been diminished under the rule of Juan Perón.[70]

On 16 September 1955, General Pedro Eugenio Aramburu's Revolución Libertadora toppled the ruling party and forced Perón into exile. Borges was overjoyed and joined demonstrators marching through the streets of Buenos Aires. According to Williamson, Borges shouted, "Viva la Patria", until his voice grew hoarse. Due to the influence of Borges' mother and his own role on the opposition to Peron, the provisional government appointed Borges as the Director of the National Library.[71] In his essay L'Illusion Comique, Borges wrote there were two histories of Peronism in Argentina. The first he described as "the criminal one", composed of the police state tactics used against both real and imagined anti-Peronists. The second history was, according to Borges, "the theatrical one" composed of "tales and fables made for consumption by dolts." He argued that, despite their claims to detest capitalism, Juan and Eva Perón
Eva Perón
"copied its methods, dictating names and slogans to the people" in the same way that multi-national corporations "impose their razor blades, cigarettes, and washing machines." Borges then listed the numerous conspiracy theories the ruling couple dictated to their followers and how those theories were accepted without question.[72] Borges concluded:

It is useless to list the examples; one can only denounce the duplicity of the fictions of the former regime, which can't be believed and were believed. It will be said that the public's lack of sophistication is enough to explain the contradiction; I believe that the cause is more profound. Coleridge spoke of the "willing suspension of disbelief," that is, poetic faith; Samuel Johnson
Samuel Johnson
said, in defense of Shakespeare, that the spectators at a tragedy do not believe they are in Alexandria
in the first act and Rome in the second but submit to the pleasure of a fiction. Similarly, the lies of a dictatorship are neither believed nor disbelieved; they pertain to an intermediate plane, and their purpose is to conceal or justify sordid or atrocious realities. They pertain to the pathetic or the clumsily sentimental. Happily, for the enlightenment and security of the Argentines, the current regime has understood that the function of government is not to inspire pathos.[73]

In a 1967 interview, Borges said, "Perón was a humbug, and he knew it, and everybody knew it. But Perón could be very cruel. I mean, he had people tortured, killed. And his wife was a common prostitute."[74] When Perón returned from exile in 1973 and regained the Presidency, Borges was enraged. In a 1975 interview for National Geographic, he said "Damn, the snobs are back in the saddle. If their posters and slogans again defile the city, I'll be glad I've lost my sight. Well, they can't humiliate me as they did before my books sold well."[75] After being accused of being unforgiving, Borges quipped, "I resented Perón's making Argentina look ridiculous to the world ... as in 1951, when he announced control over thermonuclear fusion, which still hasn't happened anywhere but in the sun and the stars. For a time, Argentines
hesitated to wear band aids for fear friends would ask, 'Did the atomic bomb go off in your hand?' A shame, because Argentina really has world-class scientists."[75] After Borges' death in 1986, the Peronist Partido Justicialista declined to send a delegate to the writer's memorial service in Buenos Aires. A spokesman for the Party said that this was in reaction to "certain declarations he had made about the country."[76] Later, at the City Council of Buenos Aires, Peronist politicians refused to honor Borges as an Argentine, commenting that he "chose to die abroad." When infuriated politicians from the other parties demanded to know the real reason, the Peronists finally explained that Borges had made statements about Evita Perón which they called "unacceptable".[76] Military junta[edit] During the 1970s, Borges at first expressed support for Argentina's military junta, but was scandalized by the junta's actions during the Dirty War. In protest against their support of the regime, Borges ceased publishing in the newspaper La Nación.[77] In 1985, he wrote a short poem about the Falklands War
Falklands War
called Juan López y John Ward, about two fictional soldiers (one from each side), who died in the Falklands, in which he refers to "islands that were too famous". He also said about the war: "The Falklands thing was a fight between two bald men over a comb."[78] Works[edit] Main article: Jorge Luis Borges
Jorge Luis Borges

Borges, in 1976.

Wardrip-Fruin and Montfort argue that Borges "may have been the most important figure in Spanish-language literature since Cervantes. He was clearly of tremendous influence, writing intricate poems, short stories, and essays that instantiated concepts of dizzying power."[79] In addition to short stories for which he is most noted, Borges also wrote poetry, essays, screenplays, literary criticism, and edited numerous anthologies. His longest work of fiction is a fourteen-page story, "The Congress", first published in 1971.[8] His late-onset blindness strongly influenced his later writing. Borges wrote: "When I think of what I've lost, I ask, 'Who know themselves better than the blind?' – for every thought becomes a tool."[80] Paramount among his intellectual interests are elements of mythology, mathematics, theology, integrating these through literature, sometimes playfully, sometimes with great seriousness.[81] Borges composed poetry throughout his life. As his eyesight waned (it came and went, with a struggle between advancing age and advances in eye surgery), he increasingly focused on writing poetry, since he could memorize an entire work in progress.[82] His poems embrace the same wide range of interests as his fiction, along with issues that emerge in his critical works and translations, and from more personal musings. For example, his interest in idealism runs through his work, reflected in the fictional world of Tlön in "Tlön, Uqbar, Orbis Tertius" and in his essay "A New Refutation of Time".[83] It also appears as a theme in "On Exactitude in Science" and in his poems "Things" and "El Golem" ("The Golem") and his story "The Circular Ruins".[citation needed] Borges was a notable translator. He translated works of literature in English, French, German, Old English, and Old Norse
Old Norse
into Spanish. His first publication, for a Buenos Aires
Buenos Aires
newspaper, was a translation of Oscar Wilde's story "The Happy Prince" into Spanish when he was nine.[84] At the end of his life he produced a Spanish-language version of a part of Snorri Sturluson's Prose Edda. He also translated (while simultaneously subtly transforming) the works of, among others, Ambrose Bierce, William Faulkner, André Gide, Hermann Hesse, Franz Kafka, Rudyard Kipling, Edgar Allan Poe, Walt Whitman, and Virginia Woolf.[Notes 5] Borges wrote and lectured extensively on the art of translation, holding that a translation may improve upon the original, may even be unfaithful to it, and that alternative and potentially contradictory renderings of the same work can be equally valid.[85] Borges employed the devices of literary forgery and the review of an imaginary work, both forms of modern pseudo-epigrapha. Hoaxes and forgeries[edit] Borges's best-known set of literary forgeries date from his early work as a translator and literary critic with a regular column in the Argentine magazine El Hogar. Along with publishing numerous legitimate translations, he also published original works, for example, in the style of Emanuel Swedenborg[Notes 6] or One Thousand and One Nights, originally claiming them to be translations of works he had chanced upon. In another case, he added three short, falsely attributed pieces into his otherwise legitimate and carefully researched anthology El matrero.[Notes 6] Several of these are gathered in the A Universal History of Infamy. While Borges was the great popularizer of the review of an imaginary work, he had developed the idea from Thomas Carlyle's Sartor Resartus, a book-length review of a non-existent German transcendentalist work, and the biography of its equally non-existent author. In This Craft of Verse, Borges says that in 1916 in Geneva
"[I] discovered, and was overwhelmed by, Thomas Carlyle. I read Sartor Resartus, and I can recall many of its pages; I know them by heart."[86] In the introduction to his first published volume of fiction, The Garden of Forking Paths, Borges remarks, "It is a laborious madness and an impoverishing one, the madness of composing vast books, setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them." He then cites both Sartor Resartus
Sartor Resartus
and Samuel Butler's The Fair Haven, remarking, however, that "those works suffer under the imperfection that they themselves are books, and not a whit less tautological than the others. A more reasonable, more inept, and more lazy man, I have chosen to write notes on imaginary books."[87] On the other hand, Borges was wrongly attributed some works, like the poem "Instantes".[88][89] Criticism of Borges' work[edit]

Monument in Santiago de Chile

Borges's change in style from regionalist criollismo to a more cosmopolitan style brought him much criticism from journals such as Contorno, a leftist, Sartre-influenced Argentine publication founded by David Viñas
David Viñas
and his brother, along with other intellectuals such as Noé Jitrik and Adolfo Prieto. In the post-Peronist Argentina of the early 1960s, Contorno
met with wide approval from the youth who challenged the authenticity of older writers such as Borges and questioned their legacy of experimentation. Magic realism
Magic realism
and exploration of universal truths, they argued, had come at the cost of responsibility and seriousness in the face of society's problems.[90] The Contorno
writers acknowledged Borges and Eduardo Mallea
Eduardo Mallea
for being "doctors of technique" but argued that their work lacked substance due to their lack of interaction with the reality that they inhabited, an existentialist critique of their refusal to embrace existence and reality in their artwork.[90] Sexuality[edit] The story "The Sect of the Phoenix" is famously interpreted to allude to the ubiquity of sexual intercourse among humans[91] – a concept whose essential qualities the narrator of the story is not able to relate to. With a few notable exceptions, women are almost entirely absent from the majority of Borges' fictional output.[92] However, there are some instances in Borges' later writings of romantic love, for example the story "Ulrikke" from The Book of Sand. The protagonist of the story "El muerto" also lusts after the "splendid, contemptuous, red-haired woman" of Azevedo Bandeira[93] and later "sleeps with the woman with shining hair".[94] Although they do not appear in the stories, women are significantly discussed as objects of unrequited love in his short stories "The Zahir" and "The Aleph".[95][page needed] The plot of La Intrusa was based on a true story of two friends. Borges turned their fictional counterparts into brothers, excluding the possibility of a homosexual relationship.[96] Nobel Prize omission[edit] Borges was never awarded the Nobel Prize in Literature, something which continually distressed the writer.[8] He was one of several distinguished authors who never received the honour.[97] Borges commented, "Not granting me the Nobel Prize has become a Scandinavian tradition; since I was born they have not been granting it to me."[98] Some observers speculated that Borges did not receive the award in his later life because of his conservative political views, or, more specifically, because he had accepted an honour from Chilean dictator Augusto Pinochet.[99][100] Borges was nominated in 1967, and was among the final three choices considered by the committee, according to Nobel records unsealed on the 50th anniversary, in 2017. The committee considered Borges, Graham Greene and Miguel Ángel Asturias, with the later the chosen winner.[101] Fact, fantasy and non-linearity[edit]

Monument in Lisbon

Many of Borges's best-known stories deal with themes of time ("The Secret Miracle"), infinity ("The Aleph"), mirrors ("Tlön, Uqbar, Orbis Tertius") and labyrinths ("The Two Kings and the Two Labyrinths", "The House of Asterion", "The Immortal", "The Garden of Forking Paths"). Williamson writes, "His basic contention was that fiction did not depend on the illusion of reality; what mattered ultimately was an author's ability to generate "poetic faith" in his reader."[8] His stories often have fantastical themes, such as a library containing every possible 410-page text ("The Library of Babel"), a man who forgets nothing he experiences ("Funes, the Memorious"), an artifact through which the user can see everything in the universe ("The Aleph"), and a year of still time given to a man standing before a firing squad ("The Secret Miracle"). Borges told realistic stories of South American life, of folk heroes, streetfighters, soldiers, gauchos, detectives, and historical figures. He mixed the real and the fantastic, fact with fiction. His interest in compounding fantasy, philosophy, and the art of translation are evident in articles such as "The Translators of The Book of One Thousand and One Nights". In the Book of Imaginary Beings, a thoroughly researched bestiary of mythical creatures, Borges wrote, "There is a kind of lazy pleasure in useless and out-of-the-way erudition."[102] Borges's interest in fantasy was shared by Bioy Casares, with whom he coauthored several collections of tales between 1942 and 1967.[citation needed] Often, especially early in his career, the mixture of fact and fantasy crossed the line into the realm of hoax or literary forgery.[Notes 6] "The Garden of Forking Paths" (1941) presents the idea of forking paths through networks of time, none of which is the same, all of which are equal. Borges uses the recurring image of "a labyrinth that folds back upon itself in infinite regression" so we "become aware of all the possible choices we might make."[103] The forking paths have branches to represent these choices that ultimately lead to different endings. Borges saw man's search for meaning in a seemingly infinite universe as fruitless and instead uses the maze as a riddle for time, not space.[103] He examined the themes of universal randomness ("The Lottery in Babylon") and madness ("The Zahir"). Due to the success of the "Forking Paths" story, the term "Borgesian" came to reflect a quality of narrative non-linearity.[Notes 7] Borgesian conundrum[edit] The philosophical term "Borgesian conundrum" is named after him and has been defined as the ontological question of "whether the writer writes the story, or it writes him."[104] The original concept put forward by Borges is in Kafka and His Precursors. After reviewing works that were written before those of Kafka, Borges wrote:

If I am not mistaken, the heterogeneous pieces I have enumerated resemble Kafka; if I am not mistaken, not all of them resemble each other. The second fact is the more significant. In each of these texts we find Kafka's idiosyncrasy to a greater or lesser degree, but if Kafka had never written a line, we would not perceive this quality; in other words, it would not exist. The poem "Fears and Scruples" by Browning foretells Kafka's work, but our reading of Kafka perceptibly sharpens and deflects our reading of the poem. Browning did not read it as we do now. In the critics' vocabulary, the word 'precursor' is indispensable, but it should be cleansed of all connotation of polemics or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future."[105]

Culture and Argentine literature[edit] Martín Fierro
Martín Fierro
and Argentine tradition[edit] Main article: Borges on Martín Fierro

Borges in 1976

Along with other young Argentine writers of his generation, Borges initially rallied around the fictional character of Martín Fierro. Martín Fierro, a poem by José Hernández, was a dominant work of 19th century Argentine literature.Its eponymous hero became a symbol of Argentine sensibility, untied from European values – a gaucho, free, poor, pampas-dwelling.[106] The character Fierro is illegally drafted to serve at a border fort to defend it against the indigenous population but ultimately deserts to become a gaucho matrero, the Argentine equivalent of a North American western outlaw. Borges contributed keenly to the avant garde Martín Fierro magazine in the early 1920s.[citation needed] As Borges matured, he came to a more nuanced attitude toward the Hernández poem. In his book of essays on the poem, Borges separates his admiration for the aesthetic virtues of the work from his mixed opinion of the moral virtues of its protagonist.[107] In his essay "The Argentine Writer and Tradition" (1951), Borges celebrates how Hernández expresses the Argentine character. In a key scene in the poem, Martín Fierro
Martín Fierro
and El Moreno compete by improvising songs on universal themes such as time, night, and the sea, reflecting the real-world gaucho tradition of payadas, improvised musical dialogues on philosophical themes.[106][108] Borges points out that Hernández evidently knew the difference between actual gaucho tradition of composing poetry versus the "gauchesque" fashion among Buenos Aires literati.[citation needed] In his works he refutes the arch-nationalist interpreters of the poem and disdains others, such as critic Eleuterio Tiscornia, for their Europeanising approach. Borges denies that Argentine literature
Argentine literature
should distinguish itself by limiting itself to "local colour", which he equates with cultural nationalism.[108] Racine and Shakespeare's work, he says, looked beyond their countries' borders. Neither, he argues, need the literature be bound to the heritage of old world Spanish or European tradition. Nor should it define itself by the conscious rejection of its colonial past. He asserts that Argentine writers need to be free to define Argentine literature
Argentine literature
anew, writing about Argentina and the world from the point of view of those who have inherited the whole of world literature.[108] Williamson says "Borges's main argument is that the very fact of writing from the margins provides Argentine writers with a special opportunity to innovate without being bound to the canons of the centre, ... at once a part of and apart from the centre, which gives them much potential freedom".[106] Argentine culture[edit] Borges focused on universal themes, but also composed a substantial body of literature on themes from Argentine folklore and history. His first book, the poetry collection Fervor de Buenos Aires
Buenos Aires
(Passion for Buenos Aires), appeared in 1923. Borges's writings on things Argentine, include Argentine culture ("History of the Tango"; "Inscriptions on Horse Wagons"), folklore ("Juan Muraña", "Night of the Gifts"), literature ("The Argentine Writer and Tradition", "Almafuerte"; "Evaristo Carriego"), and national concerns ("Celebration of the Monster", "Hurry, Hurry", "The Mountebank", "Pedro Salvadores"). Ultranationalists, however, continued to question his Argentine identity.[109] Borges's interest in Argentine themes reflects, in part, the inspiration of his family tree. Borges had an English paternal grandmother who, around 1870, married the criollo Francisco Borges, a man with a military command and a historic role in the Argentine Civil Wars in what is now Argentina and Uruguay.[citation needed] Spurred by pride in his family's heritage, Borges often used those civil wars as settings in fiction and quasi-fiction (for example, "The Life of Tadeo Isidoro Cruz," "The Dead Man," "Avelino Arredondo") as well as poetry ("General Quiroga Rides to His Death in a Carriage"). Borges's maternal great-grandfather, Manuel Isidoro Suárez, was another military hero, whom Borges immortalized in the poem "A Page to Commemorate Colonel Suárez, Victor at Junín".[citation needed] His non-fiction explores many of the themes found in his fiction. Essays such as "The History of the Tango" or his writings on the epic poem "Martín Fierro" explore Argentine themes, such as the identity of the Argentine people and of various Argentine subcultures. The varying genealogies of characters, settings, and themes in his stories, such as "La muerte y la brújula", used Argentine models without pandering to his readers or framing Argentine culture as "exotic".[109] In fact, contrary to what is usually supposed, the geographies found in his fictions often do not correspond to those of real-world Argentina.[110] In his essay "El escritor argentino y la tradición", Borges notes that the very absence of camels in the Qur'an
was proof enough that it was an Arabian work. He suggested that only someone trying to write an "Arab" work would purposefully include a camel.[109] He uses this example to illustrate how his dialogue with universal existential concerns was just as Argentine as writing about gauchos and tangos.[citation needed] Multicultural influences[edit] At the time of the Argentine Declaration of Independence
Argentine Declaration of Independence
in 1816, the population was predominantly criollo (of Spanish ancestry). From the mid-1850s on waves of immigration from Europe, especially Italy and Spain, arrived in the country, and in the following decades the Argentine national identity diversified.[8][111] Borges was writing in a strongly European literary context, immersed in Spanish, English, French, German, Italian, Anglo-Saxon and Old Norse
Old Norse
literature. He also read translations of Near Eastern and Far Eastern works. Borges's writing is also informed by scholarship of Christianity, Buddhism, Islam, and Judaism, including prominent religious figures, heretics, and mystics.[112] Religion and heresy are explored in such stories as "Averroes's Search", "The Writing of the God", "The Theologians", and "Three Versions of Judas". The curious inversion of mainstream Christian concepts of redemption in the latter story is characteristic of Borges's approach to theology in his literature.[113] In describing himself, he said, "I am not sure that I exist, actually. I am all the writers that I have read, all the people that I have met, all the women that I have loved; all the cities that I have visited, all my ancestors."[98] As a young man, he visited the frontier pampas which extend beyond Argentina into Uruguay
and Brazil. Borges said that his father wished him "to become a citizen of the world, a great cosmopolitan," in the way of Henry and William James.[114] Borges lived and studied in Switzerland
and Spain as a young student. As Borges matured, he traveled through Argentina as a lecturer and, internationally, as a visiting professor; he continued to tour the world as he grew older, finally settling in Geneva
where he had spent some of his youth. Drawing on the influence of many times and places, Borges's work belittled nationalism and racism.[109] Portraits of diverse coexisting cultures characteristic of Argentina are especially pronounced in the book Six Problems for don Isidoro Parodi (co-authored with Bioy Casares) and Death and the Compass. Borges wrote that he considered Mexican essayist Alfonso Reyes
Alfonso Reyes
to be "the best prose-writer in the Spanish language
Spanish language
of any time."[115] Borges was also an admirer of some Oriental culture, e.g. the ancient Chinese board game of Go, about which he penned some verses,[116] while The Garden of Forking Paths
The Garden of Forking Paths
had a strong oriental theme. Influences[edit] Modernism[edit]

Plaque, 13 rue des Beaux-Arts, Paris

Borges was rooted in the Modernism predominant in its early years and was influenced by Symbolism.[117] Like Vladimir Nabokov
Vladimir Nabokov
and James Joyce, he combined an interest in his native culture with broader perspectives, also sharing their multilingualism and inventiveness with language. However, while Nabokov and Joyce tended toward progressively larger works, Borges remained a miniaturist. His work progressed away from what he referred to as "the baroque": his later style is far more transparent and naturalistic than his earlier works. Borges represented the humanist view of media that stressed the social aspect of art driven by emotion. If art represented the tool, then Borges was more interested in how the tool could be used to relate to people.[79] Existentialism
saw its apogee during the years of Borges's greatest artistic production. It has been argued that his choice of topics largely ignored existentialism's central tenets. Critic Paul de Man notes, "Whatever Borges's existential anxieties may be, they have little in common with Sartre's robustly prosaic view of literature, with the earnestness of Camus' moralism, or with the weighty profundity of German existential thought. Rather, they are the consistent expansion of a purely poetic consciousness to its furthest limits."[118] Political influences[edit] As a political conservative, Borges "was repulsed by Marxism
in theory and practice. Abhorring sentimentality, he rejected the politics and poetics of cultural identity that held sway in Latin America for so long."[119] As a universalist, his interest in world literature reflected an attitude that was also incongruent with the Peronist Populist nationalism. That government's confiscation of Borges's job at the Miguel Cané Library fueled his skepticism of government. He labeled himself a Spencerian anarchist, following his father.[120][121] Mathematics[edit] Main article: Borges and mathematics The essay collection Borges y la Matemática (Borges and Mathematics, 2003) by Argentine mathematician and writer Guillermo Martínez, outlines how Borges used concepts from mathematics in his work. Martínez states that Borges had, for example, at least a superficial knowledge of set theory, which he handles with elegance in stories such as "The Book of Sand".[122] Other books such as The Unimaginable Mathematics of Borges' Library of Babel by William Goldbloom Bloch (2008) and Unthinking Thinking: Jorge Luis Borges, Mathematics, and the New Physics by Floyd Merrell (1991) also explore this relationship. Philosophy[edit] Fritz Mauthner, philosopher of language and author of the Wörterbuch der Philosophie (Dictionary of Philosophy), had an important influence on Borges. Borges always recognized the influence of this German philosopher.[123] According to the literary review Sur, the book was one of the five books most noted and read by Borges. The first time that Borges mentioned Mauthner was in 1928 in his book The language of the Argentines
(El idioma de los argentinos). In a 1962 interview Borges described Mauthner as possessing a fine sense of humor as well as great knowledge and erudition.[124] Ancestry[edit]

Ancestors of Jorge Luis Borges[citation needed]

8. Francisco de Borges

4. Francisco Borges

9. María del Carmen Lafinur

2. Jorge Guillermo Borges

10. Edward Young Haslam

5. Frances Ann Haslam

11. Jane Arnett

1. Jorge Francisco Isidoro Luis Borges[125]

12. Judas Tadeo Acevedo

6. Isidoro Acevedo Laprida

13. Hermenegilda Laprida y Olivera

3. Leonor Acevedo Suárez

14. Manuel Isidoro Suárez

7. Leonor Suárez Haedo

15. Jacinta Martínez de Haedo y Soler


^ In short, Borges' blindness led him to favour poetry and shorter narratives over novels. Ferriera, Eliane Fernanda C. "O (In) visível imaginado em Borges". In: Pedro Pires Bessa (ed.). Riqueza Cultural Ibero-Americana. Campus de Divinópolis-UEMG, 1996, pp. 313–14. ^ Edwin Williamson suggests in Borges (Viking, 2004) that Borges did not finish his baccalauréat (pp. 79–80): "he cannot have been too bothered about his baccalauréat, not least because he loathed and feared examination. (He was never to finish his high school education, in fact)." ^ "His was a particular kind of blindness, grown on him gradually since the age of thirty and settled in for good after his fifty-eighth birthday." From Manguel, Alberto (2006) With Borges. London: Telegram Books, pp. 15–16. ^ The Borges poems in H. R. Hays, ed. (1943) 12 Spanish American Poets are "A Patio", "Butcher Shop", "Benares", "The Recoleta", "A Day's Run", "General Quiroga Rides to Death in a Carriage", "July Avenue," and "Natural Flow of Memory". ^ Notable translations also include work by Melville, Faulkner, Sir Thomas Browne, and G. K. Chesterton. ^ a b c His imitations of Swedenborg and others were originally passed off as translations, in his literary column in Crítica. "El teólogo" was originally published with the note "Lo anterior ... es obra de Manuel Swedenborg, eminente ingeniero y hombre de ciencia, que durante 27 años estuvo en comercio lúcido y familiar con el otro mundo." ("The preceding [...] is the work of Emanuel Swedenborg, eminent engineer and man of science, who during 27 years was in lucid and familiar commerce with the other world.") See "Borges y Revista multicolor de los sábados: confabulados en una escritura de la infamia" by Raquel Atena Green, Wor(l)ds of Change: Latin American and Iberian Literature, volume 32, (2010) Peter Lang Publishing; ISBN 978-0-8204-3467-4 ^ Non-linearity was key to the development of digital media. See Murray, Janet H. "Inventing the Medium" The New Media Reader. Cambridge: MIT Press, 2003.


^ Borges profile. Random House Webster's Unabridged Dictionary; accessed 1 April 2016. ^ *David Wheatley (Director) (1983). Profile of a Writer: Borges and I (Feature Documentary). Arena.  ^ a b Theo L. D'Haen (1995) "Magical Realism and Postmodernism: Decentering Privileged Centers", in: Louis P. Zamora and Wendy B. Faris, Magical Realism: Theory, History and Community. Duhan and London, Duke University Press pp. 191–208. ^ On his conference "Magical Realism in Spanish American" (New York, MLA, 1954), published later in Hispania, 38 (2), 1955. ^ Borges on Life and Death, Interview by Amelia Barili. ^ (in Portuguese) Masina, Lea. (2001) "Murilo Rubião, o mágico do conto". In: O pirotécnico Zacarias e outros contos escolhidos. Porto Alegre: L & PM, pg. 5. ^ Coetzee, J.M. "Borges’ Dark Mirror", New York Review of Books, Volume 45, Number 16. 22 October 1998. ^ a b c d e f g h i j k l m n o p q Tóibín, Colm, "Don't abandon me", London Review of Books, 11 May 20061; retrieved 19 April 2009. ^ "Biography". Find a Grave. Retrieved 4 July 2013.  ^ Harold Bloom (2004) Jorge Luis Borges, Infobase Publishing; ISBN 0-7910-7872-8 ^ Borges, Jorge Luis, "Autobiographical Notes", The New Yorker, 19 September 1970. ^ Gene H. Bell-Villada,Borges and His Fiction: A Guide to His Mind and Art, University of Texas Press (1999), p. 16; ISBN 9780292708785 ^ Wilson, Jason (2006). Jorge Luis Borges. Reaktion Books. p. 37. ISBN 1-86189-286-1.  ^ 1944-, Wilson, Jason, (2006). Jorge Luis Borges. London: Reaktion. pp. 45–47. ISBN 1861892861. OCLC 65768057.  ^ Borges: Other Inquisitions 1937–1952. Full introduction by James Irby. University of Texas, ISBN 978-0-292-76002-8; accessed 16 August 2010. ^ "Ivonne Bordelois, "The Sur Magazine" Villa Ocampo Website". Villaocampo.org. Retrieved 24 August 2011.  ^ Borges, Jorge Luis. Trans. Mildred Boyer and Harold Morland. Dreamtigers, University of Texas Press, 1985, p. 25. ^ Boldy (2009) p. 32 ^ Bolter, Jay David; Joyce, Michael (1987). "Hypertext and Creative Writing". Hypertext '87 Papers. ACM. pp. 41–50.  ^ Moulthrop, Stuart (1991). "Reading From the Map: Metonymy and Metaphor in the Fiction of 'Forking Paths'". In Delany, Paul; Landow, George P. Hypermedia and Literary Studies. Cambridge, Massachusetts and London, England: The MIT Press.  ^ "Borges, Jorge Luis (Vol.32)". enotes. Retrieved 3 December 2008.  ^ Wardrip-Fruin, Noah & Montfort, Nick (2003). The New Media Reader. MIT Press. ^ , Alberto Manguel
Alberto Manguel
(2006) With Borges, London:Telegram Books pp. 15–16. ^ Woodall, J: The Man in Mirror of the Book, A Life of Luis Borges, (1996) Hodder and Stoughton pxxx. ^ "Days of Hate". Imdb. Retrieved 4 December 2008.  ^ Jorge Luis Borges
Jorge Luis Borges
(1984) Seven Nights, A New Directions Book pp 109–110. ^ Elogio de la Sombra, 1969, poetry. English title In Praise of Darkness, 1974; ISBN 0-525-03635-0. ^ a b c d Burgin (1988) p xvii ^ "The Craft of Verse: The Norton Lectures, 1967–68". UbuWeb: Sound. Retrieved 1 January 2014.  ^ Borges, Jorge Luis (2013). Jorge Luis Borges: The Last Interview: and Other Conversations (The Last Interview Series). Melville House. ISBN 9781612192048.  ^ H. R. Hays, ed. (1943) 12 Spanish American Poets. New Haven: Yale University Press p118-139. ^ Jeffrey Alan Marks, Anthony Boucher: A Biobibliography McFarland (2008), pg. 77; ISBN 9780786433209 ^ ISFDB entry for "The Rejected Sorcerer" ^ Borges, Jorge Luis (1998) Collected Fictions Viking Penguin. Translation and notes by Andrew Hurley (editorial note), pg 517. ^ Edgar Awards ^ UVA, Special
Collections Library Archived 2 November 2011 at the Wayback Machine.; accessed 1 April 2016. ^ Montes-Bradley, Eduardo. "Cada pieza es de un valor incalculable" Cover Article. Revista Ñ, Diario Clarin. Buenos Aires, 5 September 2011. ^ Kefala, Eleni (1 January 2007). Peripheral (post) Modernity: The Syncretist Aesthetics of Borges, Piglia, Kalokyris and Kyriakidis. Peter Lang. ISBN 9780820486390.  ^ Norman Thomas Di Giovanni, The Lessons of the Master. ^ "Fanny", El Señor Borges ^ Israel Shenker (31 August 1997). "Borges, a Blind Writer With Insight". New York Times. Retrieved 30 April 2013. ... Being an agnostic makes me live in a larger, a more fantastic kind of world, almost uncanny. It makes me more tolerant.  ^ a b Williamson (2004), p. 489. ^ Williamson (2005), p. 490. ^ Williamson (2004), p. 490. ^ [1] ^ Borges (2004), pages 490–492. ^ María Kodama
María Kodama
demanda a un periodista francés por difamación y reclama nada más que 1 euro, edant.revistaenie.clarin.com, 14 May 2008; accessed 1 April 2016. ^ Se suspendió un juicio por obras de Borges: reacción de Kodama ^ (in Spanish) Octavi Martí, Kodama frente a Borges, El País (Madrid), Edición Impresa, 16 August 2006. Abstract online; full text accessible online by subscription only. ^ Richard Flanagan, "Writing with Borges", The Age
The Age
(Australia), 12 July 2003; accessed 16 August 2010. ^ Borges on Writing (1973), Edited by Norman Thomas DoGiovanni, Daniel Halpern, and Frank MacShane. E.P. Dutton & Co, Inc., New York. Page 59. ^ Burgin (1968). p. 104. ^ Edwin Williamson, Borges: A Life, pp. 332–333. ^ Williamson (2004), p. 334. ^ Williamson (2004), pp. 334–335. ^ Burgin (1968) pp. 95–96 ^ Burgin (1969), pages 93-95. ^ a b De Costa, René (2000) Humor in Borges (Humor in Life & Letters). Wayne State University Press p. 49 ISBN 0-8143-2888-1 ^ Jorge Luis Borges, Selected Nonfictions, p 200. ^ Selected Nonfictions, p. 201. ^ Borges, Selected Nonfictions, p. 211. ^ Borges on Writing (1970), pages 60-61. ^ Burgin (1968), pp 331–332. ^ Borges on Writing (1970), page 61. ^ Williamson (2004) p. 292 ^ Williamson (2004) p. 295 ^ Williamson (2004) p. 312 ^ a b Williamson (2004) p. 313 ^ Williamson (2004) p. 320. ^ Williamson (2004) pp. 320–21. ^ (in Spanish) Jorge Luis Borges. Galería de Directores, Biblioteca Nacional (Argentina) at the Wayback Machine
Wayback Machine
(archived 16 April 2008). (archived from the original, on 16 April 2008.) ^ Jorge Luis Borges, Selected Nonfictions, pp. 409–10. ^ Jorge Luis Borges, Selected Nonfictions, p. 410. ^ Burgin (1969), p. 121 ^ a b National Geographic, p. 303. (March 1975). ^ a b Williamson (2004), p. 491 ^ Willis Barnstone, With Borges on an Ordinary Evening in Buenos Aires, University of Illinois
University of Illinois
Press, 1993, pp. 30–31. ^ Falkland Islands: Imperial pride, theguardian.com, 19 February 2010. ^ a b Wardrip-Fruin, Noah, and Nick Montfort, ed. (2003). The New Media Reader, Cambridge: The MIT Press, p. 29; ISBN 0-262-23227-8 ^ Borges, Jorge Luis. (1994) Siete Noches. Obras Completas, vol. III. Buenos Aires: Emecé ^ Unthinking Thinking: Jorge Luis Borges, Mathematics, and the New Physics (1991) Floyd Merrell, Purdue University Press pxii; ISBN 9781557530110 ^ "The Other Borges Than the Central One", nytimes.com; accessed 1 April 2016. ^ Kate Jenckes, Reading Borges After Benjamin: Allegory, Afterlife, and the Writing of History (2008), SUNY Press, pp. 101, 117, 136; ISBN 9780791469903 ^ Kristal, Efraín (2002). Invisible Work. Nashville, TN: Vanderbilt University Press. p. 37. ISBN 0-8265-1408-1.  ^ Jorge Luis Borges, This Craft of Verse, Harvard University
Harvard University
Press, 2000. pp. 57–76. Word Music and Translation, Lecture, Delivered 28 February 1968. ^ Borges This Craft of Verse (p. 104) ^ Borges Collected Fictions, p67 ^ University of Pittsburgh, Borges Center Jorge Luis Borges, autor del poema "Instantes", by Iván Almeida. Retrieved 10 January 2011 ^ Martin Hadis' site on The Life & Works of Jorge Luis Borges, Internetaleph.com; retrieved 10 January 2011. ^ a b Katra, William H. (1988) Contorno: Literary Engagement in Post-Perónist Argentina. Teaneck, NJ: Fairleigh Dickinson UP, pp. 56–57 ^ Williamson, Edwin (2004). Borges, a Life. ISBN 978-0-670-88579-4. years later Borges would tell Ronald Christ that he meant the Secret to refer to sexual intercourse  ^ "The Queer Use of Communal Women in Borges's "El muerto" and "La intrusa"", XIX Latin American Studies Association (LASA) Congress (paper), Washington DC, September 1995 . ^ Jorge Luis Borges: Collected Fictions, New York: Penguin, 1988, p. 197 . ^ Hurley 1988, p. 200. ^ Hurley 1988. ^ Keller, Gary; Van Hooft, Karen S. (1976). "Jorge Luis Borges' "La intrusa": The Awakening of Love and Consciousness/The Sacrifice of Love and Consciousness". In Davis, Lisa E.; Tarán, Isabel C. The Analysis of Hispanic Texts: Current Trends in Methodology. Bilingual P. pp. 300–19.  ^ Feldman, Burton. (2000) The Nobel Prize: a History of Genius, Controversy and Prestige, Arcade Publishing p57 ^ a b Jorge Luis Borges
Jorge Luis Borges
profile, guardian.co.uk, 22 July 2008; accessed 15 August 2010. ^ James M. Markham, "Briton Wins the Nobel Literature Prize", The New York Times, 7 October 1983; accessed 15 August 2010. ^ Feldman, Burton (2000) The Nobel Prize: a History of Genius, Controversy and Prestige, Arcade Publishing, pg. 81. ^ Kaj Schueler (January 2018). "Hemliga dokument visar kampen om Nobelpriset". Svenska Dagbladet. Retrieved January 3, 2018.  ^ Borges, Luis Borges (1979) Book of Imaginary Beings
Book of Imaginary Beings
Penguin Books Australia, p. 11; ISBN 0-525-47538-9 ^ a b Murray, Janet H. "Inventing the Medium" The New Media Reader. Cambridge: MIT Press, 2003. ^ Ella Taylor (18 July 2010). "Book review: 'The Thieves of Manhattan' by Adam Langer". Los Angeles Times.  ^ Jorge Luis Borges
Jorge Luis Borges
(1988). Labyrinths: Selected Stories & Other Writings. New Direction Books. p. 201.  ^ a b c Gabriel Waisman, Sergio (2005) Borges and Translation: The Irreverence of the Periphery, Bucknell University Press, pp. 126–29; ISBN 0-8387-5592-5 ^ Borges and Guerrero (1953) El "Martín Fierro ISBN 84-206-1933-7 ^ a b c Borges, Jorge Luis and Lanuza, Eduardo González (1961) "The Argentine writer and tradition" Latin American and European Literary Society ^ a b c d Takolander, Maria, (2007) Catching butterflies: bringing magical realism to ground Peter Lang Pub Inc pp. 55–60; ISBN 3-03911-193-0 ^ David Boruchoff (1985), "In Pursuit of the Detective Genre: ‘La muerte y la brújula’ of Jorge Luis Borges," Inti: Revista de Literatura Hispánica no. 21, pp. 13–26. ^ "Velez, Wanda (1990) "South American Immigration: Argentina"". Yale.edu. Retrieved 24 August 2011.  ^ Bell-Villada, Gene Borges and His Fiction: A Guide to His Mind and Art, University of Texas Press; ISBN 978-0-292-70878-5 ^ Stabb, Martin S. (1970). Jorge Luis Borges. New York: Twayne Publishers, Inc. pp. 99–100.  ^ Williamson, Edwin (2004). Borges: a life. Viking. p. 53. ISBN 0-670-88579-7.  ^ Borges, Siete Noches, p. 156 ^ "El Go". GoBase. Retrieved 26 August 2011.  ^ Britton, R (July 1979). "History, Myth, and Archetype in Borges's View of Argentina". The Modern Language Review. Modern Humanities Research Association. 74 (3): 607–16. doi:10.2307/3726707. JSTOR 3726707.  ^ de Man, Paul. "A Modern Master", Jorge Luis Borges, Ed. Harold Bloom, New York: Chelsea House Pub, 1986. p. 22. ^ Review, nytimes.com, 31 August 1997. ^ Yudin, Florence (1997). Nightglow: Borges' Poetics of Blindness. City: Universidad Pontificia de Salamanca. p. 31. ISBN 84-7299-385-X.  ^ Bell-Villada, Gene (1981). Borges and His Fiction. Chapel Hill: University of North Carolina Press. p. 13. ISBN 0-8078-1458-X.  ^ Martinez, Guillermo (2003) Borges y la Matemática (Spanish Edition) Editorial Universitaria de Buenos Aires. ISBN 950-23-1296-1 ^ Báez, Fernando "Mauthner en Borges" -nº 19 Espéculo (UCM): [2] ^ Entrevista con Borges publicada en la "Revista de la Universidad de México", vol. 16, nro. 10, México, junio de 1962, pg. 9 ^ Boldy, Steven. A Companion to Jorge Luis Borges. Woodbridge: Tamesis, 2009. pp. 9–14. ISBN 9781855661899

Further reading[edit]

Agheana, Ion (1988). The Meaning of Experience in the Prose of Jorge Luis Borges. Frankfurt Am Main: P. Lang. ISBN 0-8204-0595-7.  Agheana, Ion (1984). The Prose of Jorge Luis Borges. Frankfurt Am Main: P. Lang. ISBN 0-8204-0130-7.  Aizenberg, Edna (1984). The Aleph Weaver: Biblical, Kabbalistic and Judaic Elements in Borges. Potomac: Scripta Humanistica. ISBN 0-916379-12-4.  Aizenberg, Edna (1990). Borges and His Successors. Columbia: University of Missouri Press. ISBN 0-8262-0712-X.  Alazraki, Jaime (1988). Borges and the Kabbalah. Cambridge: Cambridge University Press. ISBN 0-521-30684-1.  Alazraki, Jaime (1987). Critical Essays on Jorge Luis Borges. Boston: G.K. Hall. ISBN 0-8161-8829-7.  Balderston, Daniel (1993). Out of Context. Durham: Duke University Press. ISBN 0-8223-1316-2.  Barnstone, Willis (1993). With Borges on an Ordinary Evening in Buenos Aires. Urbana: University of Illinois
University of Illinois
Press. ISBN 0-252-01888-5.  Barrenechea, Ana María (1965). Borges the Labyrinth Maker. Edited and Translated by Robert Lima. New York City: New York University Press. LCCN 65-10764.  Bell-Villada, Gene (1981). Borges and His Fiction. Chapel Hill: University of North Carolina Press. ISBN 0-8078-1458-X.  Bioy Casares, Adolfo (2006). Borges. City: Destino Ediciones. ISBN 978-950-732-085-9.  Block de Behar, Lisa (2014). Borges. The Passion of an Endless Quotation. 2nd Ed. Albany: SUNY Press. ISBN 978-1-4384-5031-5.  Bloom, Harold (1986). Jorge Luis Borges. New York: Chelsea House Publishers. ISBN 0-87754-721-1.  Bulacio, Cristina; Grima, Donato (1998). Dos Miradas sobre Borges. Buenos Aires: Ediciones de Arte Gaglianone. ISBN 950-554-266-6.  Illustrated by Donato Grima. Burgin, Richard (1969) Jorge Luis Borges: Conversations, Holt Rinehart & Winston Burgin, Richard (1998) Jorge Luis Borges: Conversations, University Press of Mississippi Block de Behar, Lisa (2003). Borges, the Passion of an Endless Quotation. Albany: State University of New York Press. ISBN 1-4175-2020-5.  Di Giovanni, Norman Thomas (1995). The Borges Tradition. London: Constable in association with the Anglo-Argentine Society. ISBN 0-09-473840-8.  Di Giovanni, Norman Thomas (2003). The Lesson of the Master. London: Continuum. ISBN 0-8264-6110-7.  Dunham, Lowell (1971). The Cardinal Points of Borges. Norman: University of Oklahoma Press. ISBN 0-8061-0983-1.  Fishburn, Evelyn (2002). Borges and Europe Revisited. City: Univ of London. ISBN 1-900039-21-4.  Frisch, Mark (2004). You Might Be Able to Get There from Here. Madison: Fairleigh Dickinson University Press. ISBN 0-8386-4044-3.  Kristal, Efraín (2002). Invisible Work. Nashville: Vanderbilt University Press. ISBN 0-585-40803-3.  Laín Corona, Guillermo. "Borges and Cervantes: Truth and Falsehood in the Narration". Neophilologus, 93 (2009): 421–37. Laín Corona, Guillermo. "Teoría y práctica de la metáfora en torno a Fervor de Buenos Aires, de Borges". Cuadernos de Aleph. Revista de literatura hispánica, 2 (2007): 79–93. https://web.archive.org/web/20120105024915/http://cuadernosdealeph.com/revista_2007/A2007_pdf/06%20Teor%C3%ADa.pdf Lima, Robert (1993). "Borges and the Esoteric". Crítica hispánica. Special
issue. Duquesne University. 15 (2). ISSN 0278-7261.  Lindstrom, Naomi (1990). Jorge Luis Borges. Boston: Twayne Publishers. ISBN 0-8057-8327-X.  Manguel, Alberto (2006). With Borges. City: Telegram. ISBN 978-1-84659-005-4.  Manovich, Lev, New Media from Borges to HTML, 2003 McMurray, George (1980). Jorge Luis Borges. New York: Ungar. ISBN 0-8044-2608-2.  Molloy, Sylvia (1994). Signs of Borges. Durham: Duke University Press. ISBN 0-8223-1406-1.  Murray, Janet H., Inventing the Medium, 2003 Núñez-Faraco, Humberto (2006). Borges and Dante. Frankfurt Am Main: P. Lang. ISBN 978-3-03910-511-3.  Racz, Gregary (2003). Jorge Luis Borges
Jorge Luis Borges
(1899–1986) as Writer and Social Critic. Lewiston: Edwin Mellen Press. ISBN 0-7734-6904-4.  Rodríguez, Monegal (1978). Jorge Luis Borges. New York: Dutton. ISBN 0-525-13748-3.  Rodríguez-Luis, Julio (1991). The Contemporary Praxis of the Fantastic. New York: Garland. ISBN 0-8153-0101-4.  Sarlo, Beatriz (2007). Jorge Luis Borges: a Writer on the Edge. London: Verso. ISBN 978-1-84467-588-3.  Shaw, Donald (1992). Borges' Narrative Strategy. Liverpool: Francis Cairns. ISBN 0-905205-84-7.  Stabb, Martin (1991). Borges Revisited. Boston: Twayne Publishers. ISBN 0-8057-8263-X.  Sturrock, John (1977). Paper Tigers. Oxford: Clarendon Press. ISBN 0-19-815746-0.  Todorov, Tzvetan (1970). Introduction à la littérature fantastique. Paris: Seuil.  Toro, Alfonso (1999). Jorge Luis Borges. Frankfurt Am Main: Vervuert. ISBN 3-89354-217-5.  Volek, Emil (1984). "Aquiles y la Tortuga: Arte, imaginación y realidad según Borges". In: Cuatro claves para la modernidad. Analisis semiótico de textos hispánicos. Madrid.  Waisman, Sergio (2005). Borges and Translation. Lewisburg Pa.: Bucknell University Press. ISBN 0-8387-5592-5.  Williamson, Edwin (2004). Borges: A Life. New York: Viking. ISBN 0-670-88579-7.  Wilson, Jason (2006). Jorge Luis Borges. London: Reaktion Books. ISBN 978-1-86189-286-7.  Woscoboinik, Julio (1998). The Secret of Borges. Washington: University Press of America. ISBN 0-7618-1238-5.  Mualem, Shlomy (2012). Borges and Plato: A Game with Shifting Mirrors. Madrid and Frankfurt: Iberoamericana/Vervuert. ISBN 978-8484895954. 


Eduardo Montes-Bradley
Eduardo Montes-Bradley
(Writer/Director) (1999). Harto The Borges (Feature Documentary). USA: Patagonia Film Group, US.  Ricardo Wullicher (Director) (1978). Borges para millones (Feature Documentary). Argentina.  David Wheatley (Director) (1983). Profile of a Writer: Borges and I (Feature Documentary). Arena. 

External links[edit]

Library resources about Jorge Luis Borges

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Definitions from Wiktionary Media from Wikimedia Commons Quotations from Wikiquote Data from Wikidata

Jorge Luis Borges
Jorge Luis Borges
at Encyclopædia Britannica Jorge Luis Borges
Jorge Luis Borges
at Curlie (based on DMOZ) Works by Jorge Luis Borges
Jorge Luis Borges
at Open Library
Open Library
Ronald Christ (Winter–Spring 1967). "Jorge Luis Borges, The Art of Fiction No. 39". Paris Review.  BBC Radio 4 discussion programme from In our time. (Audio 45 mins) Jorge Luis Borges
Jorge Luis Borges
at The Modern Word Borges Center, University of Pittsburgh. The Friends of Jorge Luis Borges
Jorge Luis Borges
Worldwide Society & Associates International Foundation Jorge Luis Borges

v t e

Jorge Luis Borges


Original collections

A Universal History of Infamy

"On Exactitude in Science"


"Tlön, Uqbar, Orbis Tertius" "The Approach to Al-Mu'tasim" "Pierre Menard, Author of the Quixote" "The Circular Ruins" "The Lottery in Babylon" "An Examination of the Work of Herbert Quain" "The Library of Babel" "The Garden of Forking Paths" "Funes the Memorious" "The Form of the Sword" "Theme of the Traitor and the Hero" "Death and the Compass" "The Secret Miracle" "Three Versions of Judas" "The End" "The Sect of the Phoenix" "The South"

The Aleph

"The Immortal" "The Dead Man" "The Theologians" "Emma Zunz" "The House of Asterion" "Deutsches Requiem" "Averroes's Search" "The Zahir" "The Writing of the God" "The Two Kings and the Two Labyrinths" "The Wait" "The Aleph"

Otras Inquisiciones (1937–1952)

"The Analytical Language of John Wilkins"


"Borges and I"

Dr. Brodie's Report

"The Encounter" "The Gospel According to Mark"

The Book of Sand

"The Other" "Ulrikke" "The Congress" "There Are More Things" "The Disk" "The Book of Sand"

Shakespeare's Memory

"Blue Tigers" "Shakespeare's Memory"

Other works

Historia de la eternidad "A New Refutation of Time" Borges on Martín Fierro "El Golem" Book of Imaginary Beings Labyrinths Adrogue, con ilustraciones de Norah Borges


Leonor Acevedo Suarez
Leonor Acevedo Suarez
(mother) Jorge Guillermo Borges (father) Norah Borges
Norah Borges
(sister) Celestial Emporium of Benevolent Knowledge H. Bustos Domecq Pedro Mata Uqbar Borges and mathematics

v t e

World Fantasy
Award—Life Achievement

Robert Bloch
Robert Bloch
(1975) Fritz Leiber
Fritz Leiber
(1976) Ray Bradbury
Ray Bradbury
(1977) Frank Belknap Long
Frank Belknap Long
(1978) Jorge Luis Borges
Jorge Luis Borges
(1979) Manly Wade Wellman
Manly Wade Wellman
(1980) C. L. Moore
C. L. Moore
(1981) Italo Calvino
Italo Calvino
(1982) Roald Dahl
Roald Dahl
(1983) L. Sprague de Camp
L. Sprague de Camp
/ Richard Matheson
Richard Matheson
/ E. Hoffmann Price
E. Hoffmann Price
/ Jack Vance / Donald Wandrei
Donald Wandrei
(1984) Theodore Sturgeon
Theodore Sturgeon
(1985) Avram Davidson (1986) Jack Finney (1987) Everett F. Bleiler (1988) Evangeline Walton
Evangeline Walton
(1989) R. A. Lafferty
R. A. Lafferty
(1990) Ray Russell (1991) Edd Cartier
Edd Cartier
(1992) Harlan Ellison
Harlan Ellison
(1993) Jack Williamson
Jack Williamson
(1994) Ursula K. Le Guin
Ursula K. Le Guin
(1995) Gene Wolfe (1996) Madeleine L'Engle
Madeleine L'Engle
(1997) Edward L. Ferman / Andre Norton
Andre Norton
(1998) Hugh B. Cave
Hugh B. Cave
(1999) Marion Zimmer Bradley
Marion Zimmer Bradley
/ Michael Moorcock
Michael Moorcock
(2000) Frank Frazetta
Frank Frazetta
/ Philip José Farmer
Philip José Farmer
(2001) Forrest J Ackerman
Forrest J Ackerman
/ George H. Scithers (2002) Lloyd Alexander
Lloyd Alexander
/ Donald M. Grant (2003) Stephen King
Stephen King
/ Gahan Wilson
Gahan Wilson
(2004) Tom Doherty
Tom Doherty
/ Carol Emshwiller
Carol Emshwiller
(2005) John Crowley
John Crowley
/ Stephen Fabian (2006) Betty Ballantine / Diana Wynne Jones (2007) Leo and Diane Dillon
Leo and Diane Dillon
/ Patricia A. McKillip
Patricia A. McKillip
(2008) Ellen Asher
Ellen Asher
/ Jane Yolen
Jane Yolen
(2009) Brian Lumley / Terry Pratchett
Terry Pratchett
/ Peter Straub
Peter Straub
(2010) Peter S. Beagle
Peter S. Beagle
/ Angélica Gorodischer
Angélica Gorodischer
(2011) Alan Garner
Alan Garner
/ George R. R. Martin
George R. R. Martin
(2012) Susan Cooper
Susan Cooper
/ Tanith Lee
Tanith Lee
(2013) Ellen Datlow
Ellen Datlow
/ Chelsea Quinn Yarbro
Chelsea Quinn Yarbro
(2014) Ramsey Campbell
Ramsey Campbell
/ Sheri S. Tepper (2015) David G. Hartwell
David G. Hartwell
/ Andrzej Sapkowski
Andrzej Sapkowski
(2016) Terry Brooks
Terry Brooks
/ Marina Warner
Marina Warner

Authority control

WorldCat Identities VIAF: 88919448 LCCN: n79007035 ISNI: 0000 0001 2142 9031 GND: 118513532 SELIBR: 207839 SUDOC: 026739917 BNF: cb11892985q (data) BIBSYS: 90070625 ULAN: 500006476 MusicBrainz: 494e041d-9636-4ed1-8bce-776a0f67e181 NLA: 35100025 NDL: 00433878 NKC: jn19981000310 ICCU: ITICCUCFIV07696 BNE: XX1720293 SN