Jorge Luis Borges

Full of philosophical puzzles and supernatural surprises, these stories contain some of Borges's most fully realized human characters. With uncanny insight, he takes us inside the minds of an unrepentant Nazi, an imprisoned Mayan priest, fanatical Christian theologians, a woman plotting vengeance on her father’s “killer,” and a man awaiting his assassin in a Buenos Aires guest house.  This volume also contains the hauntingly brief vignettes about literary imagination and personal identity collected in The Maker, which Borges wrote as failing eyesight and public fame began to undermine his sense of self.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Jorge Luis Borges has been called the greatest Spanish-language writer of our century. Now for the first time in English, all of Borges' dazzling fictions are gathered into a single volume, brilliantly translated by Andrew Hurley. From his 1935 debut with The Universal History of Iniquity, through his immensely influential collections Ficciones and The Aleph, these enigmatic, elaborate, imaginative inventions display Borges' talent for turning fiction on its head by playing with form and genre and toying with language. Together these incomparable works comprise the perfect one-volume compendium for all those who have long loved Borges, and a superb introduction to the master's work for those who have yet to discover this singular genius.

The seventeen pieces in Ficciones demonstrate the whirlwind of Borges's genius and mirror the precision and potency of his intellect and inventiveness, his piercing irony, his skepticism, and his obsession with fantasy. Borges sends us on a journey into a compelling, bizarre, and profoundly resonant realm; we enter the fearful sphere of Pascal's abyss, the surreal and literal labyrinth of books, and the iconography of eternal return. To enter the worlds in Ficciones is to enter the mind of Jorge Luis Borges, wherein lies Heaven, Hell, and everything else in between. Part One: The Garden of Forking Paths Prologue Tlön, Uqbar, Orbis Tertius (1940) The Approach to Al-Mu'tasim (1936, not included in the 1941 edition) Pierre Menard, Author of the Quixote (1939) The Circular Ruins (1940) The Lottery in Babylon (1941) An Examination of the Work of Herbert Quain (1941) The Library of Babel (1941) The Garden of Forking Paths (1941) Part Two: Artifices Prologue Funes the Memorious (1942) The Form of the Sword (1942) Theme of the Traitor and the Hero (1944) Death and the Compass (1942) The Secret Miracle (1943) Three Versions of Judas (1944) The End (1953, 2nd edition only) The Sect of the Phoenix (1952, 2nd edition only) The South (1953, 2nd edition only)

Winner of the National Book Critics Circle Award in Criticism The first comprehensive selection in any language of the non-fiction--much of it appearing here in English for the first time--of “one of literature’s most fertile and original minds” (San Francisco Chronicle) A Penguin Classics Deluxe Edition with flaps and deckle-edged paper It will come as a surprise to many readers that the greater part of Jorge Luis Borges’s extraordinary writing was not in the genres of fiction or poetry, but in various forms of non-fiction prose. His thousands of pages of essays, reviews, prologues, lectures, and notes on politics and culture—though revered in Latin America and Europe as among his finest work—have scarcely been translated into English. Selected Non-Fictions presents a Borges almost entirely unknown to American readers. Here is the dazzling metaphysician speculating on the nature of time and reality and the inventions of heaven and hell, and the almost superhumanly erudite reader of the world’s literatures, from Homer to Ray Bradbury, James Joyce to Lady Murasaki. Here, too, the political Borges, taking courageous stands against fascism, antisemitism, and the Perón dictatorship; Borges the movie critic, on King Kong and Citizen Kane and the Borgesian art of dubbing; and Borges the regular columnist for the Argentine equivalent of the Ladies’ Home Journal, writing hilarious book reviews and capsule biographies of modern writers. Like the Aleph in his famous story—the magical point in a basement in Buenos Aires from which one can view everything in the world—Borges’s non-fictions are a vortex for seemingly the entire universe: Dante and Ellery Queen, Shakespeare and the Kabbalah, the history of angels and the history of tango, the Buddha, Bette Davis, and the Dionne Quints. Selected Non-Fictions presents more than 160 of these astonishing writings, from his youthful manifestos to his last meditations on his favorite books. More than a hundred of these pieces have never before appeared in English, and all have been rendered in brilliant new translations by Esther Allen, Suzanne Jill Levine, and Eliot Weinberger. This unique selection presents Borges as at once a deceptively self-effacing guide to the universe and the inventor of a universe that is an indispensable guide to Borges.

"The Circular Ruins"/"Las ruinas circulares") first published in the literary journal Sur in December 1940, it was included in the 1941 collection The Garden of Forking Paths (Spanish: El jardín de senderos que se bifurcan) and the 1944 collection Ficciones. It was first published in English in View (Series V, No. 6 1946), translated by Paul Bowles.

En este cuento, Juan Dahlmann sufre un accidente. Aunque al parecer leve, su herida precipita un doble hilo de consecuencias inesperadas.

Jorge Luis Borges has been called the greatest Spanish-language writer of the twentieth century. Brilliantly translated, these stories combine a direct and at times almost colloquial style coupled with Borges's signature fantastic inventiveness.

Jorge Luis Borges's famous 1941 meditation on language, alphabets, and the library that contains all knowledge is an allegory of our Universe, and in this edition is complemented and enhanced by the etching of the French artist, Érik Desmazières.

In a perfect pairing of talent, this volume blends twenty illustrations by Peter S.' with Jorge Luis Borges' 1957 compilation of 116 "strange creatures conceived through time and space by the human imagination," from dragons and centaurs to Lewis Carroll's Cheshire Cat and the Morlocks of H. G. Wells' The Time Machine. A lavish feast of exotica brought vividly to life with art commissioned specifically for this volume, The Book of Imaginary Beings will delight readers of classic fantasy as well as Borges' many admirers.

'Summer was drawing to a close, and I realized that the book was monstrous.' Fantastical tales of mazes, puzzles, lost labyrinths and bookish mysteries, from the unique imagination of a literary magician. Penguin Modern: fifty new books celebrating the pioneering spirit of the iconic Penguin Modern Classics series, with each one offering a concentrated hit of its contemporary, international flavour. Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

One of Borges's shortest stories, The House of Asterion was written over a period of two days. The story explores themes of death, redemption, and the nature of monstrosity. Its narrative style has been referred to as a "literary puzzle", with the narrator's identity not fully revealed until the end of the story.

Alternate cover edition — ISBN: 0141183829 'One of the most remarkable artists of our age' - Mario Vargas Llosa. The Book of Sand was the last of Borges' major collections to be published. The stories are, in his words, 'variations on favourite themes...combining a plain and at times almost colloquial style with a fantastic plot'. It includes such marvellous tales as "The Congress", "Undr" and "The Mirror and the Mask". Also included are the handful of stories written right at the end of Borges' life - "August 25, 1983", "Blue Tigers", "The Rose of Paracelsus" and "Shakespeare's Memory".

The first fruit of the collaboration of Borges and his long-time friend Bioy-Casares, Six Problems for Don Isidro Parodi appeared originally under the pseudonym of H. Bustos Domecq. "Bugsy's" prose style is not quite the style of either of the collaborators, but in this volume, at least, "he never got out of hand," as Borges complained he did later. In the first story, Parodi, who is himself in jail for homicide, is visited by a young man who seeks his help in solving a particularly baffling murder. In the second story, a killing takes place aboard an express train. One of the characters is a writer named Gervasio Montenegro, whom the discerning reader will identify as author of the book's expressive foreword. In "Tadeo Limardo's Victim," a murdered man prepares for his own death. "Tai An's Long Search" is a variation on Poe's "The Purloined Letter." In "Free Will and the Commendatore," a cuckold takes elaborate and invisible revenge. The book also includes a short biography of H. Bustos Domecq by Adelma Badoglio, a provincial schoolteacher. Comic in intent, and pointedly satirical, Six Problems for Don Isidro Parodi is an essential key to understanding Borges' development as a writer.

In his writing, Borges always combined high seriousness with a wicked sense of fun. Here he reveals his delight in re-creating (or making up) colorful stories from the Orient, the Islamic world, and the Wild West, as well as his horrified fascination with knife fights, political and personal betrayal, and bloodthirsty revenge. Sparkling with the sheer exuberant pleasure of story-telling, this wonderful collection marked the emergence of an utterly distinctive literary voice.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Basta scorrere l’indice degli argomenti di questo ciclo di conferenze – la Divina Commedia, l’incubo, Le mille e una notte, il buddhismo, la poesia, la Cabbala, la cecità – per rendersi conto che in quelle sette sere del 1977 Borges volle offrire al pubblico un compendio dell’intera sua esperienza di lettore e di scrittore. Un lettore «edonista», che esorta ad affrontare la Commedia «con la fede di un bambino» e in generale a ignorare la storia della letteratura, perché solo i testi contano, e l’emozione estetica che sanno procurarci. E proprio per trasmettere questa gioiosa, leggera forma di edonismo, Borges, memore dei 'confabulatores nocturni' che si dice svagassero l’insonnia di Alessandro il Macedone, punteggia ogni conversazione di racconti: il dantesco «episodio di Ulisse», l’incubo di Wordsworth, la «storia dei due che sognarono» delle Mille e una notte, la leggenda del Buddha e quella del golem. Ma c’è di più: mentre discorre affabilmente dei libri che lo hanno appassionato, vediamo delinearsi le idee che questi hanno depositato nelle sue opere, tracciando un sentiero luminoso: l’idea che la realtà è un’illusione, un grande sogno che, se vogliamo, possiamo chiamare Dio; che anche il testo è «il mutevole fiume di Eraclito», giacché ogni lettura (o rilettura, o ricordo di quella lettura) lo rinnova; che inventare è ricordare, e la letteratura, di conseguenza, infinito reimpiego di materiali preesistenti. Il lettore e lo scrittore – ne abbiamo qui la conferma – nel caso di Borges coincidono miracolosamente.

«L'esile volume di 146 pagine sfidava la nostra immaginazione di diciottenni innamorati delle visioni di Jim Morrison e di William Blake con una visionarietà ironicamente erudita, minuziosa fino a sembrare perversa e abbastanza vaga da spingerci a cercare di decifrarla come una lingua straniera. Ora Finzioni torna in una nuova e splendida versione italiana accresciuta dai tre racconti che Borges vi aggiunse ... E a percorrere di nuovo i sentieri biforcuti dell'argentino, a rileggere certi memorabili attacchi, ci si accorge non solo che il loro potere pacatamente incantatorio è immutato, ma in qualche modo si è ramificato, come in un racconto di Borges. Che cosa è successo? Solo che quasi tutta la letteratura degli ultimi quarant'anni, da Calvino a Pynchon a Molina a infiniti altri, si è confrontata o scontrata con l'universo onirico e lievemente delirante scaturito da Finzioni». Giuseppe Montesano

Cuento "La biblioteca de Babel".

Si en «El libro de los seres imaginarios» Jorge Luis Borges puso su vasta cultura y asombrosa erudición al servicio de la elaboración de una especie de bestiario moderno, la recopilación de sueños y pesadillas que da cuerpo a esta obra es producto de una recurrente inquietud -atestiguada a lo largo de su vida por numerosos relatos, ensayos y conferencias- por ese ámbito misterioso en el que el alma humana «es a la vez el teatro, los actores y el auditorio». «Este LIBRO DE SUEÑOS que los lectores volverán a soñar abarca sueños de la noche -los que yo firmo, por ejemplo-, sueños del día, que son un ejercicio voluntario de nuestra mente, y otros de raigambre perdida: digamos, el Sueño anglosajón de la Cruz».

Nascuta de cele mai multe ori imprejurul unor obiecte simple, precum un ceas, o busola ori o Biblie, balanta povestilor lui Borges inclina cand sa se inspire din alte povesti, cand sa-si traga urzeala din realitatea ametitoare. Relatarea lui Brodie isi strange istorisirile in jurul unei idei: aceea ca atat autorul, cat si personajele sale, atunci cand vorbesc, nu fac altceva decat sa se cufunde in „memoria infinita“, iar „visul fiecaruia este parte din memoria tuturor“.

Borges became famous as a writer of short stories that contained new realities: elaborately conceived, ingenious and gamesome précis of impossible worlds or imaginary books. In these five stories there is danger on the high seas, an ungracious teacher of etiquette and an encyclopedia of an unknown planet - and Borges's unique imagination and intellect play throughout.

Nel febbraio del 1969, a Cambridge, su una panchina davanti al fiume Charles, Borges incontra un uomo che ha la sua stessa voce e gli è più intimo di un figlio nato dalla sua carne. L’uomo è Borges ventenne, a Ginevra, seduto su una panchina davanti al fiume Rodano. Comincia così, con un vertiginoso ritorno al "vecchio tema del doppio" e alle atmosfere lucidamente visionarie degli scritti degli anni Quaranta, Il libro di sabbia, che raccoglie tredici, memorabili, racconti – cui se ne aggiungono qui, in appendice, altri quattro mai radunati in volume. Racconti di carattere fantastico. O forse sogni. O forse incontri con apparizioni spettrali: Ulrica, alta e lieve, labile riflesso di una saga nordica; una casa inconcepibile e il suo terrificante ospite; un vecchio, pallido e severo, venuto da un futuro dove si insegna l’arte di dimenticare. Ma anche incontri con oggetti da incubo, da cui paiono sprigionarsi il caos o la divinità: il disco di Odino, a un solo lato e invisibile, che un taglialegna strappa al re dei Secgens e poi cercherà invano; il diabolico libro di sabbia, che non ha né inizio né fine né centro né ordine, e infama e corrompe la realtà; le "tigri blu", pietruzze lisce e rotonde capaci di riprodursi e di minare la scienza della matematica. Incontri, tutti, destinati a "ramificarsi nell’ospitale immaginazione" di chi li legge, quasi fossero scaturiti, miracolosamente, dai suoi stessi sogni. "In questi esercizi da cieco" scrive Borges "ho voluto essere fedele all’esempio di Wells: la congiunzione di uno stile piano, a volte quasi orale, con una trama impossibile" – e il risultato è una prosa pacata ed essenziale, ma come non mai modulata e musicale. Apparso per la prima volta nel 1975, il Libro di sabbia raccoglie racconti scritti fra il 1971 e il 1975, mentre al periodo 1977-1980 appartengono quelli accolti nell’Appendice.

Although his work has been restricted to the short story, the essay, and poetry, Jorge Luis Borges of Argentina is recognized all over the world as one of the most original and significant figures in modern literature. In his preface, Andre Maurois writes: "Borges is a great writer who has composed only little essays or short narratives. Yet they suffice for us to call him great because of their wonderful intelligence, their wealth of invention, and their tight, almost mathematical style." Labyrinths is a representative selection of Borges' writing, some forty pieces drawn from various books of his published over the years. The translations are by Harriet de Onis, Anthony Kerrigan, and others, including the editors, who have provided a biographical and critical introduction, as well as an extensive bibliography.

Per molti lettori di questi ultimi decenni L'Aleph è il libro dove scoprirono non solo un nuovo grande scrittore, ma un nuovo modo di essere della letteratura. Fu una specie di folgorazione, che poi si trasmise a tutta l'opera di Borges. Intanto, i titoli di alcuni di questi racconti (da Lo Zahir a Deutsches Requiem, da La ricerca di Averroè a L'immortale) entravano nella geografia mentale dei lettori come luoghi da sempre familiari e misteriosi.

Toda la poesía de Borges en un solo volumen. «El escritor en español más importante desde Cervantes. [...] Uno de los artistas contemporáneos más memorables. [...] La deuda que tenemos contraída con él quienes escribimos en español es enorme.» Mario Vargas Llosa «Uno de los autores más extraordinarios del siglo XX.» The New York Times Después de una vida leyendo, escribiendo y enseñando poesía, Borges confesó que seguía lleno de perplejidades y que solo había ganado una que la poesía se escribe para deleitar al lector. Este libro recoge toda la obra poética de Jorge Luis Borges, una peculiar conspiración literaria en favor del placer. Abren la serie Fervor de Buenos Aires (1923), Luna de enfrente (1925) y Cuaderno San Martín (1929), una trilogía compuesta al regresar a Argentina después de un periplo por Europa. En El Hacedor (1960) y Elogio de la sombra (1969) aflora la tragedia de su ceguera,atemperada por los temas épicos y metafísicos. A partir de El oro de los tigres (1972) y La rosa profunda (1975), mientras su celebridad crece internacionalmente, el tono del autor se vuelve más íntimo. Borges escribe sobre los libros, la memoria, los laberintos, los espejos, la historia, el amor y la eternidad, y sus versos siguen tocando físicamente a las nuevas generaciones, como la cercanía del mar. Antes que el sueño (o el terror) tejiera mitologías y cosmogonías, antes que el tiempo se acuñara en días, el mar, el siempre mar, ya estaba y era. ¿Quién es el mar? ¿Quién es aquel violento y antiguo ser que roe los pilares de la tierra y es uno y muchos mares y abismo y resplandor y azar y viento? Quien lo mira lo ve por vez primera, siempre. Con el asombro que las cosas elementales dejan, las hermosas tardes, la luna, el fuego de una hoguera. ¿Quién es el mar, quién soy? Lo sabré el día ulterior que sucede a la agonía. Reseñ «Borges es mejor poeta que narrador. Su obra completa en verso ha sido editada en un tomo maravilloso y sin desperdicio, en el que no podía faltar el poema que inicia con el endecasílabo más perfecto de la historia de la literatura en nuestro "ya no seré feliz. Tal vez no importa".» Benjamín Prado, La Ventana (Cadena SER) «Junto con un pequeño séquito de colegas y profetas (se me ocurren Kafka y Joyce), Borges es más que un cuentista sorprendente y un brillante es un espejo que refleja el espíritu de su tiempo.» Chicago Tribune «El escritor latinoamericano más influyente del siglo XX.» The Washington Post «Borges, visionario escéptico, nos fascina. [...] Cumple con nuestro anhelo esencial en cuanto a las razones por que leemos.» Harold Bloom, Cómo leer a Jorge Luis Borges «Nolo léalo. [...] Urge no ya leerlo o releerlo, sino, como sugería Bolaño, "releerlo otra vez".» Gonzalo Núñez, La Razón

Jorge Luis Borges's Labyrinths is a collection of short stories and essays showcasing one of Latin America's most influential and imaginative writers. This Penguin Modern Classics edition is edited by Donald A. Yates and James E. Irby, with an introduction by James E. Irby and a preface by André Maurois. Jorge Luis Borges was a literary spellbinder whose gripping tales of magic, mystery and murder are shot through with deep philosophical paradoxes. This collection brings together many of his story, including the celebrated "The Library of Babel," "The Garden of Forking Paths," "Funes of the Memorious" and "Pierre Menard, Author of the Quixote". ~penguin.co.uk

Poeta, ensayista y narrador, Borges es una de las figuras primordiales de la literatura universal. Ahora, por primera vez, se reúnen en este volumen todos sus cuentos, uno de los legados más influyentes y deslumbrantes de la literatura occidental. El universo borgiano, con sus espejos, laberintos, tigres, bibliotecas, gauchos o máscaras, es ya uno de los paisajes fundamentales del siglo XX. En este libro se encuentran obras maestras como «El jardín de los senderos que se bifurcan», «Pierre Menard, autor del Quijote», «Funes el memorioso», «El Sur», «El Aleph» o «Ulrica». Leer estos cuentos supone releer la historia de la humanidad y emprender una de las aventuras más enriquecedoras, bellas y emocionantes de todos los tiempos.

Luis Borges evoca su primer encuentro con la obra de Dante. Leída por primera vez en los largos viajes en tranvía que durante un tiempo tuvo que hacer desde su domicilio hasta la lejana biblioteca en la que estaba empleado, en adelante no cesaría de volver a ella en numerosas ocasiones y en distintas ediciones. Del asombro e interés inagotable surgidos entonces en él por esta obra llena de delicias, de sorpresas y pesadillas, se nutren los NUEVE ENSAYOS DANTESCOS reunidos en este volumen, en los que se funden de forma admirable los respectivos universos de dos de los más grandes autores de la literatura universal.

"Three versions of Judas" (original Spanish title: "Tres versiones de Judas") is a short story by Argentine writer and poet Jorge Luis Borges. It was included in Borges' anthology, Ficciones, published in 1944. Like several other Borges stories, it is written in the form of a scholarly article. The story carries three footnotes and quotes many people, some of which are real (like Antônio Conselheiro), some have been concocted from real life (like Maurice Abramowicz, who was once his classmate, and later became a deputy for the Swiss communist party, but is made a French religious philosopher in the story) and some are completely fictitious (like Jaromir Hladík, who is a character from his own story "The Secret Miracle").

„Cred ca cea mai buna carte a mea de povestiri e ultima pe care am scris-o, Cartea de nisip; in ea nu exista nici un cuvint care sa-l incurce pe cititor. Povestirile sint spuse simplu, desi ele nu sint deloc simple; pentru ca nu exista lucruri simple in univers; totul este complex. Eu le deghizez in povestiri simple.” (Jorge Luis Borges)

Cuento "El Aleph", de Jorge Luis Borges, originalmente publicado en el libro El Aleph, en 1949.