Jorge Luis Borges

Latin Amerika´nın ve dünya edebiyatının önde gelen isimlerinden J.L. Borges, çok sayıda yazarın üslübunu, tekniğini ve edebiyat hakkındaki düşüncelerini neredeyse tek başına değiştiren, eserleriyle çağımıza damgasını vuran bir şair, öykü ve deneme yazarı. Formenter Ödülü´nü aldığı 1961´den bu yana eserleri klasik sayılan ve giderek artan bir hayran kitlesi kazanan, defalarca Nobel Ödülü´ne aday gösterilen Borges, Poe, Kafka, H.G. Wells, Valery, Mallarme ve daha birçok yazardan etkilendi ve kendini her şeyden önce bir okur olarak gördü. Dost canlısı ve bonkör bir kişiliği olan Borges´in metinlerini dergilere gönderirken fazla rahat davrandığı, eserlerine ilgi gösteren dostlarına öykülerinin teliflerini armağan ettiği, hatta bazılarıyla ortak öyküler yazdığı biliniyor. İletişim Yayınları 1989´da kurulan Jorge Luis Borges Vakfı´yla yaptığı anlaşmaya uygun olarak, yazarın kimi zaman keyfi sıralamalarla derlenen öykü, düzyazı ve şiirlerini ilk basıldıkları halleriyle yayımlıyor. Borges, 1930´larda, Arjantin´de çok satan Critica gazetesinin pazar ekine yazdığı yazıları, Alçaklığın Evrensel Tarihi´nde biraraya getirdi. Gerçek ile hayalin birleştiği bu yazılarda, yaşamöykülerini bilerek çarpıttğı Keşiş Eastman,Kadın Korsan Çingi, Billiy the Kid gibi kötü şöhretli kimseleri anlatırken, kurgunun olgudan daha gerçek, daha inanılır olduğunu belirtmeyi hedeflemişti. İlk kısa öyküsü ´Mahalle Kabadayısı´nın da yer aldığı bu kitabı Borges, 1954´te yazdığı önsözde, `öykü yazmayı göze alamayan, dolayısıyla da başkalarının masallarını bozup çarpıtarak kendini eğlendiren utangaç bir delikanlının sorumsuz oyunları` olarak nitelemişti. Buna karşılık kitap, Latin Amerika edebiyatını derinden etkiledi ve yayımlandığı tarih (1935) bu edebiyatın bir dönüm noktası olarak nitelendi.

Editie ingrijita de Andrei Ionescu Povestirile fantastice ale lui Borges, calatoriile sale in timp, artificiile stilului sau ermetic si calculat au schimbat fata prozei moderne. Asa cum Aleph este punctul ce contine intregul univers, universul literar borgesian se regaseste in aceasta carte esentiala: oglinzi, labirinturi, vise, biblioteci infinite, cutitari gaucho, tigri transparenti sint teme si motive la care autorul se intoarce mereu pentru a demonstra ceea ce a sustinut intotdeauna, ca lumea e o carte ce se rescrie la infinit.

Numa noite de 1937, ao conversar sobre ficções fantásticas, três amigos – Jorge Luis Borges, Adolfo Bioy Casares e Silvina Ocampo – resolveram criar uma antologia com seus autores preferidos. Três anos depois, foi lançada a Antologia da literatura fantástica, consolidada em sua edição definitiva 25 anos depois, obtendo enorme sucesso não só de estima como de público. Do filósofo Martin Buber ao explorador Richard Burton, passando pela tradição dos contos orientais, além de Cortázar, Kafka, Cocteau, Joyce, Wells e Rabelais, são 75 histórias – não só contos, como fragmentos de romance e peças de teatro -- que nos apresentam uma literatura marcada pelo imaginário e por um modo diferente de representar a realidade.

Tres destacadas figuras del mundo argentino de las letras nos ofrecen en esta "Antología de la literatura fantástica" lo mejor de un género literario que siempre ha ejercido un atractivo irresistible en el público lector. Están los clásicos como Poe, los místicos como Swedenborg, los magos de la palabra como Joyce, etc. Junto a estos consagrados, nuevas figuras, incluídas las de grandes valores argentinos.

Verso la fine degli anni '30 tre amici di Buenos Aires - Jorge Luis Borges, Adolfo Bioy Casares e sua moglie Silvina Ocampo - decidono di inventare una sorta di personalissima antologia dei propri autori preferiti. Nasce così, nel 1940, l'Antologia della letteratura fantastica, una silloge di settantacinque racconti fantastici: da Niu Sengru a Martin Buber, da Lewis Carroll a Cocteau, da Chesterton a Joyce, da Kafka a Kipling. Naturalmente, il "fantastico" va inteso in senso borgesiano: una letteratura segnata dall'immaginario e da un nuovo modo di rappresentare la realtà, che determina una rottura con la tradizione realista in voga negli anni Trenta, e che nulla ha a che vedere con il genere "gotico".

After almost a half a century of scrupulous devotion to his art, Jorge Luis Borges personally compiled this anthology of his work-short stories, essays, poems, and brief mordant “sketches,” which, in Borges’s hands, take on the dimensions of a genre unique in modern letters. Some of this material had not previously been published in book form. English title: A Personal Anthology, 1967

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. Spark-ling with the sheer exuberant pleasure of story-telling, this collection marked the emergence of an utterly distinctive literary voice.

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.

„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)

„Dacă îl citești pe Borges frecvent și cu atenție, devii borgesian…” (Harold Bloom) O parte considerabilă din operele lui J.L. Borges scrise în colaborare au fost realizate împreună cu prietenul său de-o viață, A. Bioy Casares. În cazul celorlalte, Borges a fost, incontestabil, vocea întâi, iar printre ele Cartea ființelor imaginare ocupă un loc aparte, prin împletirea originală a erudiției cu fantasticul și livrescul. Selecția originală a temelor, subtilitatea comentariilor și, mai ales, stilul inconfundabil oferă o lectură nu numai de mult așteptată, ci și îmbătătoare. „Cartea ființelor imaginare a lui Borges, acest inimitabil maestru argentinian, nutrește fanteziile noastre despre creaturi ce sfidează realitatea. Găsim în ea ficțiunea, mitologia magică în cea mai rafinată formă de expresie a lor.” (Gabriel J. Perea)

“In a series of short, sly, ironic essays...[the authors] invert, deflate, and dismantle most of the aesthetic fads of our time....Domecq is a seedy literary journalist....a pompous, brainless critic of every art in sight. He is hilariously awful and a great creation.” The Atlantic Monthly “The real target of [the authors’] often uproarious gibes is modernism--or the part of it that zealously pursues theories of ‘pure’ form into Cloud-Cuckoo-Land. The result, which Domecq never perceives, is invariably monstrous: novels and poems that cannot be read, art that cannot be seen, architecture--freed from ‘the demands of responsibility’--that cannot be used....With donnish humor and unfailing intelligence, Chronicles of Bustos Domecq thrusts a rapier into such gargantuan posturing.” Time

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.

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.

25 años después de la muerte de Borges, Alfaguara recoge los relatos que él eligió como los más memorables de la literatura universal: Poe, Conrad, Kipling y Maupassant, entre otros, se dan cita en estas páginas. “No sé si soy un buen escritor; creo ser un excelente lector o, en todo caso, un sensible y agradecido lector.” Esta frase de Borges, citada infinidad de veces, sigue reencontrando su sentido inequívoco. El 26 de julio de 1935, en una sección de la revista argentina El Hogar titulada “Un cuento, joya de la literatura”, Borges explicaba por qué elegía el relato de May Sinclair “Donde su fuego nunca se apaga” como el cuento más memorable que había leído, al tiempo que mencionaba otros once. Esa declaración ha inspirado la presente antología, que reúne un variado grupo de magníficos relatos.

Siempre inspirado y provocador, Borges despliega en estas páginas su visión personal de la literatura argentina a través de diez clases magistrales que dio en la Universidad de Michigan entre enero y marzo de 1976, y cuya existencia permaneció ignorada hasta que el hallazgo de un conjunto de viejos casetes permitió recuperarlas. Edición, prólogo y notas de Nicolás Helft. Mientras la vida en la Argentina se cargaba de oscuros presagios, Borges y María Kodama emprendieron el viaje a los Estados Unidos invitados por el profesor Donald Yates, uno de sus primeros traductores al inglés, quien registró, con su pequeño grabador portátil, el curso completo que Borges dio ante un reducido grupo de estudiantes de habla hispana. Gracias a un meticuloso trabajo de transcripción de esas grabaciones, este volumen recupera el tono espontáneo e intimista que tuvieron esos encuentros, donde reverbera la irónica y sinuosa voz de un Borges que en la década de 1970 ya era una celebridad en el ambiente cultural y académico estadounidense. Por sus páginas desfilan, siempre enmarcados en sus circunstancias históricas, el Facundo y las batallas de Sarmiento, la figura del gaucho en Hilario Ascasubi, las fallidas lecturas del Martín Fierro y la renovación que trajo el modernismo, entre múltiples temas y autores. Borges enriquece cada clase con los recuerdos de su abuela sobre la vida en la frontera en el siglo XIX, con las anécdotas de su madre sobre Almafuerte, con narraciones míticas oídas en la estancia de Adolfo Bioy Casares o con evocaciones personales de Lugones o de Groussac, pero también con incursiones en la mitología griega o escandinava, y con luminosas digresiones sobre Shakespeare, Whitman o la amistad, para él una de las grandes pasiones argentinas.

"Jemand setzt sich zur Aufgabe, die Welt abzuzeichnen. Im Laufe der Jahre bevölkert er einen Raum mit Bildern und Provinzen, Königreichen, Gebirgen, Buchten, Schiffen, Inseln, Fischen, Behausungen, Werkzeugen, Gestirnen, Pferden und Personen. Kurz bevor er stirbt, entdeckt er, daß dieses geduldige Labyrinth aus Linien das Bild seines eigenen Gesichts wiedergibt." Jorge Luis Borges

Buenos Aires. 19 cm. 180 p. Encuadernación en tapa blanda de editorial. Colección 'Obras completas de Jorge Luis Borges', numero coleccion(6). Borges, Jorge Luis 1899-1986 .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario.

Shipped from UK, please allow 10 to 21 business days for arrival. Good, 1st UK Edition Thus, Allen Lane 1974. 128pp. Very good clean tight sound square, no bookplate, inscription or marks of any kind. In good green lettered yellow ochre boards gently rubbed to spine, together with original unclipped colour pictorial dustwrapper torn to head of upper (4cm) and chipped with very slight loss to head of spine not intruding or detracting.

Dreamtigers has been heralded as one of the literary masterpieces of the twentieth century by Mortimer J. Adler, editor of Great Books of the Western World. It has been acknowledged by its author as his most personal work. Composed of poems, parables, and stories, sketches and apocryphal quotations, Dreamtigers at first glance appears to be a sampler—albeit a dazzling one—of the master's work. Upon closer examination, however, the reader discovers the book to be a subtly and organically unified self-revelation. Dreamtigers explores the mysterious territory that lies between the dreams of the creative artist and the "real" world. The central vision of the work is that of a recluse in the "enveloping serenity " of a library, looking ahead to the time when he will have disappeared but in the timeless world of his books will continue his dialogue with the immortals of the past — Homer, Don Quixote, Shakespeare. Like Homer, the maker of these dreams is afflicted with failing sight. Still, he dreams of tigers real and imagined, and reflects upon of a life that, above all, has been intensely introspective, a life of calm self-possession and absorption in the world of the imagination. At the same time he is keenly aware of that other Borges, the public figure about whom he reads with mixed emotions: "It's the other one, it's Borges, that things happen to."

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

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.

Los textos inéditos suelen perdurar en papeles dispersos, márgenes o cuadernos en octava; suelen encontrarse en cajones, baúles, latas de galletitas o bolsillos; éste permaneció en una cinta magnetofónica, grabada en Nueva York hace cuarenta y tres años. Esto quiere decir que antes de ser un libro, El aprendizaje del escritor fue oral, y que su texto comporta la traducción (o ventriloquia) de las transcripciones del seminario sobre escritura que ofreció Jorge Luis Borges en la Universidad de Columbia, en 1971. Los encuentros de este seminario estuvieron dedicados a la escritura, tanto de ficción y poesía, como de traducción. Cada reunión estuvo abierta a las preguntas de los estudiantes y, a la manera de los diálogos platónicos, recrea naturalmente el contraste dramático de los puntos de vista del autor y sus lectores. Este seminario, como la vastísima obra de Borges, no encierra una sola página que no ofrezca una felicidad.

Caracterizan las paginas de "El hacedor" el cruce de generos (relatos, ensayos у poemas) у la diversidad tematica. Homero у Dante alternan con Rosas у Facundo; la fantasia que inventa laberintos ineditos, con la cronica de sucesos aparentemente triviales pero cargados de insospechadas significaciones; el particularismo criollo, con la universalidad historica que abarca tanto la simbologia oriental como la cultura europea. "De cuantos libros he entregado a la imprenta - escribio el propio Jorge Luis Borges - ninguno, creo, es tan personal como esta colectiva у desordenada "silva de varia leccion".

"El Informe Brodie" supone una evolución imprevista en la estética de Jorge Luis Borges, A diferencia de "El Aleph" y "Ficciones", que abundan en enigmas y en símbolos, los once cuentos de este volumen, fruto de la lenta madurez del gran escritor, son directos, desnudos y sencillos.

Escritor argentino (1899-1986). Su obra se inscribe esencialmente dentro de la poesía, el relato corto y el ensayo. En cualquiera de estos campos se muestra como un extraordinario creador, erudito, riguroso y con un profundo sentido crítico no exento de ironía. Los relatos reunidos en El jardín de senderos que se bifurcan (1941) son un buen ejemplo de su narrativa. Otras obras: El aleph (1949), El hacedor (1960). Ganador del premio Miguel de Cervantes en 1980. Contenido: - Prólogo - Tlön, Uqbar, Orbis Tertius - El acercamiento de Almotásim - Pierre Menard, autor del Quijote - Las ruinas circulares - La lotería de Babilonia - Examen de la obra de Herbert Quain - La Biblioteca de Babel - El jardín de senderos que se bifurcan

"Не querido ser fiel, еn estos ejercicios de ciego -dijo en una ocasión Jorge Luis Borges refiriéndose a los relatos incluidos en El libro de arena-, al ejemplo de Wells: la conjunción del estilo llano, a veces casi oral, у de un argumento imposible." El propio autor reconoce la singularidad de uno de estos relatos: "Si de todos mis textos tuviera que rescatar uno solo, rescataría, creo, "El Congreso", que es a la vez el más autobiográfico (el que prodiga más los recuerdos) у el más fantástico".

A compendium of mythological creatures considers the inventions of such literary masters as Shakespeare, Lewis Carroll, and Kafka in a volume that explores the qualities of dragons, unicorns, and other curious beasts.

La vejez (tal es el nombre que otros le dan) / puede ser el tiempo de nuestra dicha. / El animal ha muerto o casi ha muerto./ Quedan el hombre y el alma.. Con estos versos Jorge Luis Borges inicia el poema Elogio de la sombra que da titulo a este volumen. En su prologo escribe: A los espejos, laberintos y espadas que ya preve mi resignado lector se han agregado dos temas nuevos: la vejez y la etica... Este libro reune las composiciones en prosa y en verso escritas entre 1967 y 1969. Su publicacion celebro los 70 anos del autor y tuvo una gran acogida entre el publico y la critica. Elogio de la sombra es la plenitud de Borges, su retorno a las cosas esenciales," escribio Felix Luna. A la edad que tiene Borges, cuando el animal ha muerto o casi ha muerto, queda de el lo mas importante, es decir, el espiritu puro y las raices. Entre estos dos limites extremos, su penumbra; esa sombra que 'se parece a la eternidad.

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

Escrito con algún resabio ultraísta y bajo el influjo de su regreso a Argentina tras los años vividos en Europa, este libro anticipa con nitidez la obra futura de Borges. En sus páginas ya están las metáforas clásicas, la adjetivación asombrosa, el incipiente planteo metafísico, la precisión verbal, la peculiar inflexión vacilante que esconde un remate perfecto. El tema central son los suburbios de la ciudad, el linde misterioso donde el barrio se desdibuja en el campo. Esa tensión entre lo particular y lo universal funda en nuestras letras un nuevo modo de observar la realidad cotidiana, una exquisita poética de lo inestable.

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)

Spanish

Ficções reúne os contos publicados por Borges em 1941 sob o título de O jardim de veredas que se bifurcam (com exceção de "A aproximação a Almotásim", incorporado a outra obra) e outras dez narrativas com o subtítulo de Artifícios. Nesses textos, o leitor se defronta com um narrador inquisitivo que expõe, com elegância e economia de meios, de forma paradoxal e lapidar, suas conjecturas e perplexidades sobre o universo, retomando motivos recorrentes em seus poemas e ensaios desde o início de sua carreira: o tempo, a eternidade, o infinito. Os enredos são como múltiplos labirintos e se desdobram num jogo infindável de espelhos, especulações e hipóteses, às vezes com a perícia de intrigas policiais e o gosto da aventura, para quase sempre desembocar na perplexidade metafísica. Chamam a atenção a frase enxuta, o poder de síntese e o rigor da construção, que tem algo da poesia e outro tanto da prosa filosófica, sem nunca perder o humor desconcertante. Em Ficções estão alguns de seus textos mais famosos, como "Funes, o Memorioso", cujo protagonista tinha "mais lembranças do que terão tido todos os homens desde que o mundo é mundo"; "A biblioteca de Babel", em que o universo é equiparado a uma biblioteca eterna, infinita secreta e inútil; "Pierre Menard, autor do Quixote", cuja "admirável ambição era produzir páginas que coincidissem palavra por palavra e linha por linha com as de Miguel de Cervantes"; e "As ruínas circulares", em que o protagonista quer sonhar um homem "com integridade minuciosa e impô-lo à realidade e no final compreende que ele também era uma aparência, que outro o estava sonhando".

Jorge Luis Borge's Fictions introduced an entirely new voice into world literature. It is here we find the astonishing accounts of Funes, the man who can forget nothing; the French poet who recreated Don Quixote word for word; the fatal lottery in Babylon; the mysterious planet of Tlön; and the library containing every possible book in the whole universe. Here too are the philosophical detective stories and the haunting tales of Irish revolutionaries, gaucho knife fights and dreams within dreams which proved so influential (and yet impossible to imitate). This collection was eventually to bring Borges international fame; over fifty years later, it remains endlessly intriguing. 'Hurley's efforts at retranslating Borges are not anything but heroic. his versions are clear, elegant, crystalline' — Ilan Stavans, The Times Literary Supplement

«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

"Funes the Memorious" is the tale of one Ireneo Funes, who, after falling off his horse and receiving a bad head injury, acquired the amazing talent—or curse—of remembering absolutely everything.Included in the collection of short stories "Ficciones."

El trabajo que da título a Historia de la eternidad se ocupa del tiempo y de su negación, y examina dos concepciones contrapuestas de eternidad: la alejandrina, de raíz platónica, y la cristiana, nacida con la doctrina trinitaria de Ireneo y formalizada por San Agustín. Otras dos penetrantes digresiones estudian la doctrina de Nietzsche sobre el eterno retorno y las concepciones basadas en el carácter recurrente del movimiento histórico. El examen de las versiones clásicas de "Las 1001 noches" ilustra los condicionamientos culturales e históricos de la labor de traducción.

Los siete relatos que forman "Historia universal de la infamia" extraen biografías у anécdotas de diversas realidades culturales у geográficas para transmutarlas, por obra de una voluntad alegórica у una expresión barroca, en sustancia propiamente literaria. El volumen incluye "Hombre de la Esquina Rosada", una de las piezas más celebradas de Borges, у "Etcétera", seis notas о glosas en las que brilla la asombrosa cultura que marca las fronteras de su espacio literario.

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.

Poems and prose presented in both English and Spanish evoke Borges' impressions of blindness and death.

«Este que llamo Inquisiciones (por aliviar alguna vez la palabra de sambenitos y humareda) es ejecutoria parcial de mis veinticinco años. El resto cabe en un manojo de salmos, en el " Fervor de Buenos Aires " y en un cartel que las esquinas de Callao publicaron. [...] Yo no sé si hay literatura, pero yo sé que el barajar esa disciplina posible es una urgencia de mi ser.» Primer volumen en prosa publicado por Jorge Luis Borges, «Inquisiciones» vio la luz en Buenos Aires en 1925, quedando en seguida " desterrado " oficialmente, junto con «El tamaño de mi esperanza» y «El idioma de los argentinos», de la obra de su autor. En él, sin embargo, se encuentran ya gran parte de los temas y obsesiones recurrentes del maestro argentino, así como el sello inconfundible de su estilo.

Este feliz volumen, inédito como tal hasta hoy, se compone de dos libros dados a imprenta con más de un cuarto de siglo de diferencia, la que separa 1925 de 1952. No obstante, sus ensayos pertenecen a un mismo diálogo, el de Borges con la historia literaria, el del lector con el escritor. De entre ellos, Menoscabo y grandeza de Quevedo señala los rostros múltiples del autor; «La nadería de la personalidad» quiebra el conjunto del yo; La flor de Coleridge reivindica la supremacía de la tradición; y Kafka y sus precursores, por ejemplo, cuestiona el sentido de las influencias.

Istoria universala a infamiei reprezinta debutul lui Jorge Luis Borges. Amestecul de realitate si fictiune din acest volum va deveni o caracteristica importanta a prozei sale de mai tirziu. Istoria universala a infamiei este construita ca o colectie de povesti medievale, in care visele si magia sint realitati amestecate printre mistere si prevestiri cu aer tainic. Personajele unor astfel de iluzii nu-s Feti-Frumosi cu stea in frunte, ci „eroi satui de fumul de tutun si alcool, eroi cu palarii de paie cu panglici colorate, eroi afectati de boli rusinoase”, pe care doar onoarea, loialitatea fata de cauze demult pierdute ii mai anima. „Daca il citesti pe Borges frecvent si cu atentie, devii borgesian; a-l citi inseamna a activa o constiinta a literaturii in care el a patruns mai departe decit toti ceilalti.” (Harold Bloom)

These wide-ranging conversations have an exceptionally open and intimate tone, giving us a personal glimpse of one of the most fascinating figures in contemporary world literature. Interviewer Fernando Sorrentino, an Argentinian writer and anthologist, is endowed with literary acumen, sensitivity, urbanity, and an encyclopedic memory of Jorge Luis Borges' work (in his prologue, Borges jokes that Sorrentino knows his work "much better than I do"). Borges wanders from nostalgic reminiscence to literary criticism, and from philosophical speculation to political pronouncements. His thoughts on literature alone run the gamut from the Bible and Homer to Ernest Hemingway and Julio Cortázar. We learn that Dante is the writer who has impressed Borges most, that Borges considers Federico García Lorca to be a "second-rate poet," and that he feels Adolfo Bioy Casares is one of the most important authors of this century. Borges dwells lovingly on Buenos Aires, too. From the preface: For seven afternoons, the teller of tales preceded me, opening tall doors which revealed unsuspected spiral staircases, through the National Library's pleasant maze of corridors, in search of a secluded little room where we would not be interrupted by the telephone…The Borges who speaks to us in this book is a courteous, easy-going gentleman who verifies no quotations, who does not look back to correct mistakes, who pretends to have a poor memory; he is not the terse Jorge Luis Borges of the printed page, that Borges who calculates and measures each comma and each parenthesis. Sorrentino and translator Clark M. Zlotchew have included an appendix on the Latin American writers mentioned by Borges. Fernando Sorrentino is an Argentine writer born in Buenos Aires in 1942. His works have been translated into more than twelve languages. Clark M. Zlotchew is a professor of Spanish at SUNY Fredonia. Some of his areas of specialization: Jorge Luis Borges, 20th century Spanish-American Fiction, Literary Translation, and Literary Interview.

"Kitabının adının Kum Kitabı olduğunu söyledi bana, çünkü kitabın da kumun da ne başı var ne sonu." - J. L. Borges Borges, son öykü kitabı olan Kum Kitabı'nı 1975'te yazdı. Otobiyografik ögelerin ağır bastığı bu kitaptaki öyküler, hem alabildiğine fantastiktir hem de "gelip geçen olaylar üstüne derin düşünceler" havası taşır. Cambridge'deki kendi gençliğiyle karşılaşması, yeryüzündeki tüm bilgiyi toplamak için tüm dünyadaki kitapları toplayan bir örgüt, eski İskandinav ve Anglo-Sakson efsaneleri gibi temalar içeren bu öyküleri Borges, Brodie Raporu'nda olduğu gibi tümüyle kafasında oluşturdu ve sekreteri Maria Kodama'ya dikte ederek yazdırdı; çünkü bu kitapların yazıldığı yıllarda artık neredeyse tümüyle kör olmuştu. Kum Kitabı, Borges'in olgunluk çağının en önemli eserlerinden biridir. "Borges'siz bir Latin Amerika edebiyatından bahsedilemez." - Carlos Fuentes

Cuento "La biblioteca de Babel".

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

Jorge Luis Borges's Labyrinths is a collection of short stories and essays showcasing one of Latin America's most influential and imaginative writers. Jorge Luis Borges was a literary spellbinder whose tales of magic, mystery and murder are shot through with deep philosophical paradoxes. This collection brings together many of his stories, including the celebrated 'Library of Babel', whose infinite shelves contain every book that could ever exist, 'Funes the Memorious' the tale of a man fated never to forget a single detail of his life, and 'Pierre Menard, Author of the Quixote', in which a French poet makes it his life's work to create an identical copy of Don Quixote. In later life, dogged by increasing blindness, Borges used essays and brief tantalising parables to explore the enigma of time, identity and imagination. Playful and disturbing, scholarly and seductive, his is a haunting and utterly distinctive voice. Jorge Luis Borges (1899-1986) was born in Buenos Aires, Argentina. A poet, critic and short story writer, he received numerous awards for his work including the 1961 International Publisher's Prize (shared with Samuel Beckett). He has a reasonable claim, along with Kafka and Joyce, to be one of the most influential writers of the twentieth century. ~penguin.co.uk

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.

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

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.

«Je vis l’Aleph, sous tous les angles, je vis sur l’Aleph la terre, je vis mon visage et mes viscères, je vis ton visage, j’eus le vertige et je pleurai, car mes yeux avaient vu cet objet secret et conjectural, dont les hommes usurpent le nom, mais qu’aucun homme n’a regardé : l’inconcevable univers.» Trois contes tirés du célèbre recueil L’Aleph, dans lequel Borges livre une démonstration magistrale de son art, faisant de la symétrie fondamentale, presque vertigineuse, la clef de voûte de son œuvre. Sa préoccupation essentielle : traiter des rapports du fini et de l’infini, de la mort et de l’immortalité, de la barbarie et de la civilisation… À la fois l’alpha et l'oméga.

Libro usado en buenas condiciones, por su antiguedad podria contener señales normales de uso

Cuento "Las ruinas circulares", publicado en El jardín de senderos que se bifurcan (1941) y en Ficciones (1944). "Al principio, los sueños eran caóticos; poco después, fueron de naturaleza dialéctica. El forastero se soñaba en el centro de un anfiteatro circular que era de algún modo el templo incendiado: nubes de alumnos taciturnos fatigaban las gradas; las caras de los últimos pendían a muchos siglos de distancia y a una altura estelar, pero eran del todo precisas."

«On emmène un enfant pour la première fois au jardin zoologique. Cet enfant pourrait être n'importe lequel d'entre nous, ou, inversement, nous avons été cet enfant et nous ne nous en souvenons pas. Dans ce jardin, dans ce terrible jardin, l'enfant voit des animaux vivants qu'il n'a jamais vus (...). Passons, maintenant, du jardin zoologique de la réalité au jardin zoologique des mythologies, dont la faune n'est pas de lions mais de sphinx et de griffons et de centaures.».

Vasta silloge («strettamente edonistica e soggettiva» avrebbe detto Borges) delle immagini che gli uomini si sono fatti di quegli universi ulteriori dove ai defunti sono destinati castighi e ricompense, il Libro del cielo e dell’inferno affianca, in un affascinante disordine, frammenti di testi sacri a resoconti di mistici visionari, poetiche figurazioni di scrittori ad accurate e non meno immaginose speculazioni di filosofi e teologi, mescolando antico e moderno, fede e scetticismo, gravità e ironia. Ci incanteremo così di fronte al paradiso del Valhalla, dove i guerrieri morti in battaglia ogni mattino si armano, combattono, si danno la morte e rinascono, e all’inferno a sette piani delle Mille e una notte, l’uno sopra l’altro e distanti mille anni fra loro. Ma, soprattutto, si fisseranno per sempre nella nostra memoria i cieli tenacemente terreni immaginati da scrittori come Charles Lamb o Miguel de Unamuno o ancora Mark Twain, cui si deve questa lapidaria descrizione: «Dov’era lei, era l’Eden». Come auspica il rapido Prologo, del resto, «Chissà che il nostro volume non lasci intravedere la millenaria evoluzione dei concetti di cielo e di inferno: a partire da Swedenborg si pensa a stati dell’anima e non a un luogo di premi e a un altro di pene».

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».

Ottanta creature mitiche curiosamente descritte in questo Manuale di zoologia fantastica. Chi le ha escogitate? Borges - assieme alla coautrice Margarita Guerrero -, o l'ancestrale forza inventiva degli uomini, antichi e moderni? Con la consueta, grandiosa leggerezza, l'autore argentino ci guida, sbalorditi, in una visionaria ricognizione: i mostri che, in ordinata successione, popolano queste pagine, fanno parte del patrimonio di conoscenza delle civiltà occidentali e orientali, e si incontrano tanto nei classici che nella tradizione orale. Si apprenderà, ad esempio, dell'"agnello vegetale della Tartaria", detto anche borametz, del simurg, uccello immortale che nidifica tra i rami dell'Albero della Scienza. Si parlerà del cane Cerbero, del mirmicoleone, ma anche della Scimmia dell'inchiostro o del centoteste e cosí via. Il lettore potrà indagare da solo la veridicità di queste creature, e il senso profondo delle metafore.

Aparecen reunidos en este volumen y rigurosamente seleccionados los relatos de Jorge Luis Borges que universalmente gozan de la más alta consideración. Entre ellos, «Hombre de la esquina rosada», «La biblioteca de Babel», «El aleph», «El informe de Brodie» y «El libro de arena». Este apretado panorama da una idea de la gran renovación de la escritura que Borges realiza mediante su fantástico poder de creación y su compleja elaboración intelectual. Antecede a los textos un extenso y documentado estudio de Marcos Ricardo Barnatán, que ha dedicado ya tres libros al estudio del autor y su obra.

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.

A literatura, como o tigre, quer perdurar em seu ser, em sua forma; o livro é uma das formas ideais dessa permanência. Como então conceber um livro feito de areia, matéria que se move à toa, na forma imposta pelo acaso ? Esse é apenas um dos paradoxos de que se fez este clássico. Não que Jorge Luis Borges estivesse aqui inventando do nada todos os temas, as estratégias, os giros de linguagem ― o leitor vai encontrar, nos contos deste volume, variados e intensos ecos de textos anteriores. Ocorre que estamos no zênite da obra desse escritor, sul-americano por destino, portenho por reflexão, ocidental por convicção, mundial por conquista. A eternidade e certa confeitaria de Buenos Aires, a saga do norte europeu e um singelo peão de estância, a guerra e a poesia, a matemática e a velhice, a formulação abstrata e o relato vivencial, o realismo e a fábula, tudo vai na vaza deste livro de areia, rio infinito que se frequenta como aquele outro, do qual nunca se sai do mesmo jeito. Luís Augusto Fischer, professor de Literatura da UFRGS, escritor e colaborador da Folha.

'O Livro dos Seres Imaginários' é um extraordinário catálogo de cento e dezasseis seres fantásticos que povoaram a mitologia e a religião desde o início dos tempos. Alguns, como o golem, a esfinge e o centauro, são filhos da metafísica ou da literatura; outros, como gnomos e fadas, são o resultado da invenção humana. Produto da vasta cultura e da assombrosa erudição de Jorge Luis Borges, este livro é uma espécie de bestiário moderno em que se reúne uma grande parte dos estranhos seres que, ao longo dos tempos foram engendrados pela fantasia dos homens. Seguindo as evocações do clássico, as revelações e os sonhos de escritores e poetas, Borges dá vida a histórias esquecidas e mostra que esses estranhos seres procedem da mesma imaginação humana, de desejos e medos semelhantes. «O título deste livro justificaria a inclusão do príncipe Hamlet, do ponto, da linha, da superfície, do hipercubo, de toas as palavras genéricas, e talvez de cada um de nós e da divindade. Em suma, quase do Universo.»

"On Exactitude in Science" or "On Rigor in Science" (the original Spanish-language title is "Del rigor en la ciencia") is a one-paragraph short story by Jorge Luis Borges, about the map-territory relation, written in the form of a literary forgery.

Editorial Reviews Considering that so much of the work by Argentine author Borges (1899–1986) alludes to the mystical, this is a surprisingly small book. Known throughout the world for his metaphysical fantasies, Borges studied not only Christian mysticism but much Eastern philosophy and religion, including the works of the Sufis, Buddhist doctrines, and Raja, or classical yoga. To bring all these ideas together, his widow, Kodama, and Levine (Spanish & Portuguese, Univ. of California, Santa Barbara) have edited this small but powerful collection of prose, poetry, and essays. Many reveal Borges's obsessions with finding one's true "I," the nature of God, and the illusive nature of words, dreams, and other mystical states. This work also presents, for the first time in English, many of his brief essays that appraise other authors and philosophers. Key features are the well-known stories "The Library of Babel" and "The Aleph," along with the ironical "Poem of the Gifts," about his love of books and his increasing blindness. VERDICT A good introduction to Borges for both students and interested general readers.—Nedra Crowe Evers, Sonoma Cty. Lib., Santa Rosa, CA About The Author: About The Author: Jorge Luis Borges was born in Buenos Aires in 1899 and was educated in Europe. One of the most widely acclaimed writers of the 20th century, he published many collections of poems, essays, and short stories before his death in Geneva in June 1986. In 1961, Borges shared the International Publishers' prize with Samuel Beckett. In 1971, Columbia University awarded him the first of many degrees of Doctor of Letters, honoris causa, that he was to receive from the English-speaking world -- eventually, the list included both Oxford and Cambridge universities. In 1971 he also received the fifth biennial Jerusalem Prize and in 1973 was given one of Mexico's most prestigious cultural awards, the Alfonso Reyes Prize. In 1980 he shared with Gerardo Diego the Cervantes Pri

Pierre Menard, el otro autor del Quijote, no quiere reversionar el Quijote, tampoco pretende escribirlo tal y como lo haría Cervantes en el siglo XVI. El cuento empieza con una protesta de un crítico a causa de la omisión del nombre del poeta simbolista, Pierre Menard, en un catálogo. Y para testimoniar eso, menciona la opinión de una baronesa y de una condesa, y aún enumera toda su producción en orden cronológico. Pierre Menard es un oscuro escritor francés recientemente fallecido, cuyo mayor logro fue escribir, en el siglo XX, los capítulos noveno y trigésimo octavo de la primera parte del Quijote, y un fragmento del capítulo veintidós. Los capítulos son iguales, en cada palabra y cada coma, a los escritos originalmente por Cervantes. Sin embargo no son una copia. Pierre Menard inicialmente quería ser Miguel de Cervantes, en los años 30, «saber el español, recuperar la fe católica, guerrear contra los moros o contra el turco, olvidar la historia de Europa entre los años de 1602 y de 1918». Pero lo descartó. Le dejó una carta al crítico, relatando todo lo que pasó para escribir su obra, y por qué la escribió. Incluso, el crítico considera muy superior la versión de Menard a la del autor español, «a pesar de los obstáculos, el fragmentario Quijote de Menard es más sutil e infinitamente más rico que el de Cervantes».

Revered for his magnificent works of fiction, Jorge Luis Borges thought of himself primarily as a poet. Poems of the Night is a moving collection of the great literary visionary's poetic meditations on nighttime, darkness, and the crepuscular world of visions and dreams, themes that speak implicitly to the blindness that overtook Borges late in life-and yet the poems here are drawn from the full span of Borges's career. Featuring such poems as "History of the Night" and "In Praise of Darkness" and more than fifty others in luminous translations by an array of distinguished translators-among them W.S. Merwin, Christopher Maurer, Alan Trueblood, and Alastair Reid-this volume brings to light many poems that have never appeared in English, presenting them en face with their Spanish originals. 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.

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

In English at last, Borges’s erudite and entertaining lectures on English literature from Beowulf to Oscar Wilde Writing for Harper’s Magazine, Edgardo Krebs describes Professor Borges: “A compilation of the twenty-five lectures Borges gave in 1966 at the University of Buenos Aires, where he taught English literature. Starting with the Vikings’ kennings and Beowulf and ending with Stevenson and Oscar Wilde, the book traverses a landscape of ‘precursors,’ cross-cultural borrowings, and genres of expression, all connected by Borges into a vast interpretive web. This is the most surprising and useful of Borges’s works to have appeared posthumously.” Borges takes us on a startling, idiosyncratic, fresh, and highly opinionated tour of English literature, weaving together countless cultural traditions of the last three thousand years. Borges’s lectures — delivered extempore by a man of extraordinary erudition — bring the canon to remarkably vivid life. Now translated into English for the first time, these lectures are accompanied by extensive and informative notes by the Borges scholars Martín Arias and Martín Hadis.

BORGES (In collaborazione con Alicia Jurado) COS'È IL BUDDISMO Nell'opera di Borges il tema della religione, sia essa quella cristiana o una orientale, compare con frequenza. Spirito decisamente laico, incline al dubbio, all'interrogazione, all'analisi, disposto ad accordare fiducia all'eventualità e al caso piuttosto che alle certezze definitive, Borges non può certo essere definito «religioso» nel senso stretto e ortodosso del termine. La religione, se ci è dato azzardare un'ipotesi, fu per lui più una tentazione, una nostalgia. Pertanto questa sua esposizione del buddismo non ha nulla di accademico, di pedantesco, di manualistico: è piuttosto un'analisi libera, a volte audace negli accostamenti, una visione che sottolinea i punti di contatto, ma anche di attrito, che evidenzia le affinità e le diversità fra la tradizione orientale e quella occidentale. Ritroviamo in queste pagine il Borges dei più brillanti e originali testi poetici, narrativi e saggistici, lo scrittore smagliante, il curioso di ogni manifestazione dello spirito umano, il sottile dialettico. Jorge Luis Borges è nato a Buenos Aires nel 1899. Avido lettore, cominciò giovanissimo a scrivere su importanti riviste d'avanguardia, entrando in contatto con gli ambienti letterari del tempo. Nel 1955 fu nominato direttore della biblioteca nazionale. Nel 1961 gli fu assegnato il Premio Internazionale degli editori. Poeta, narratore, saggista, ha scritto moltissime opere. Ricordiamo 'Inquisizioni' (1925), 'Evaristo Carriego' (1930), 'Altre inquisizioni' (1952), 'Finzioni' (1964). È morto nel 1986. Francesco Tentori Montalto, cui si devono versioni delle voci maggiori della poesia ispanoamericana e spagnola del Novecento (Antonio Machado, Juan Ramon Jiménez, Vicente Aleixandre, Luis Cernuda, Pablo Antonio Cuadra, Eliseo Diego), ha tradotto, di Borges, racconti (L'Aleph), saggi (Altre inquisizioni), poesie (L'artefice, Elogio dell'ombra, L'altro, lo stesso) e curato un'antologia lirica (Dall'intimità) e tre volumi di conversazioni.

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“.

Amantes del género policial, Jorge Luis Borges у Adolfo Bioy Casares dieron cauce de expresión a las inquietudes у solaces fruto de su común afición en los singulares relatos que toman como eje a un "detective" о investigador no menos singular: lsidro Parodi, "el penado de la celda 273" de la Penitenciaría Nacional, que resuelve los casos que le plantean sin moverse de ella. Publicado en 1942 bajo el pseudónimo común de H. Bustos Domecq, Seis problemas para don lsidro Parodi está integrado por seis piezas que, pese a ser completamente independientes, van desplegando en un segundo plano ante el lector todo un elenco de personajes que, sometidos a un baño de humor corrosivo que les imprime rasgos у aires propios de "grand guignol", sirven de articuladores de unas tramas que hunden su raíz en la mejor tradición del cuento de misterio.

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 largest collection of poetry ever assembled in English by “the most important Spanish-language writer since Cervantes” (Mario Vargas Llosa) A Penguin Classics Deluxe Edition with flaps and deckle-edged paper Though universally acclaimed for his dazzling fictions, Jorge Luis Borges always considered himself first and foremost a poet. This new bilingual selection brings together some two hundred poems, including scores of poems never previously translated. Edited by Alexander Coleman, it draws from a lifetime's work--from Borges's first published volume of verse, Fervor de Buenos Aires (1923), to his final work, Los conjurados, published just a year before his death in 1986. Throughout this unique collection the brilliance of the Spanish originals is matched by luminous English versions by a remarkable cast of translators, including Robert Fitzgerald, Stephen Kessler, W. S. Merwin, Alastair Reid, Mark Strand, Charles Tomlinson, and John Updike.

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.

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.

Obra en la que se reúnen las sutiles y agudas reflexiones de Borges sobre Las mil y una noches, La Divina Comedia, la poesía, la cábala y el budismo, las pesadillas y la ceguera, entre otros temas.

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.

Borges uzun süre yazmaya ara verdikten sonra 1974’te kaleme aldığı şiirlerini, 1975’te ilk kez yayımlanan Sonsuz Gül’de bir araya getirdi. 1974’te Arjantin’de iki ölüm Borges’i çok etkilemişti; 1 Temmuz’da Perón’un ölümüyle Perónist düzen nihayet çökmüş, yerine geçen Isabella’nın yönetiminde antikomünist gerillaların cinayetleri eskiye göre birkaç kat artmış, desaparecidos (kayıplar) dönemi başlamıştı. Borges bu dönemde bile ülkesini ‘yürekli’ diye ansa da, sonradan yaptığı açıklamalarda, sözünü ettiğinin eski Arjantin olduğunu söylemiştir. Kasım 1974’te yeğen çocuğu Angélica boğularak öldü. Borges Angélica’nın Anısına adlı şiirde bu erken ölüme ağıt yakar: Kimbilir ne çeşit yaşamlar gelip gitmiş olmalı Bu acınası ve ufacık ölümle birlikte Kitaptaki diğer şiirlerde, pars, bizon, tılsımlar, kitaplar, aynalar, Nordik mitler gibi Borges’ten aşina olduğumuz izlekler yer alıyor. Sonsuz Gül, Borges’in son öykü kitabı olan Kum Kitabı’yla aynı yıl yayımlandı. Usta şairin olgunluk dönemi şiirlerini, iki değerli çevirmenin yorumlarıyla sunuyoruz.

Simile a un enciclopedista cinese, Borges volle accostare una sequenza di destini tenebrosi come altrettanti «esercizi di prosa narrativa». Il tono è quello, impassibile, di chi intende «raccontare con lo stesso scrupolo le esistenze degli uomini, siano stati divini, mediocri o criminali», e ritrovarle tutte in una pura «superficie di immagini». Ma chi cercasse in questi ritratti dati certi e attendibili si ingannerebbe. Ispiratore occulto è qui Marcel Schwob, che nelle sue Vite immaginarie inventava le biografie di uomini «che erano realmente esistiti ma di cui non si sapeva pressoché nulla». Procedimento che in Borges si inverte: «leggevo la vita di un personaggio conosciuto e la deformavo e falsificavo deliberatamente secondo la mia fantasia». Con la sua usuale sprezzatura, Borges definì una volta queste storie «l’irresponsabile gioco di un timido». Di fatto erano il primo gioiello di una nuova specie di letteratura.

Although full of philosophical puzzles and supernatural surprises, the stories which make up The Aleph also contain some of Borges's most fully realised 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 created as failing eyesight and public fame began to undermine his sense of self.

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.

The Book of Fantasy began one night when three friends fell to talking about fantasies and ghost stories. The place was Buenos Aires, 1937, and the people were Jorge Luis Borges, Adolfo Bioy Casares and his wife Silvina debated which stories were best, wrote Bioy Casares later, 'and someone suggested that if we brought together the tales and the fragments that we had listed in our notebooks we would have a good book. ' The result is an astonishing collection of stories drawn from all the literatures of the world from Ancient China to Modern America mingling the obscure and the neglected with the already famous and showing a splendid disdain for conventional literary opinion. Among the authors included are Leonid Andreyev, Léon Bloy, Lewis Carroll, Jean Cocteau, O.K. Chesterton, James Joyce, Giovanni Papini, Carlos Peralta and Villiers de L'lsle Adam, some of whom have never been translated before. 'It is some- times said, wrote Bruce Chatwin. 'that all the elements of civilization end up eventually in Argentina, and most of it ends up in Borges' head. His values are those of high Western civilization They say lives in a world of imagination and dreams, but he's central to life. ' Now considerably expanded and published for the first time in English, The Book of Fantasy has a specially-written introduction by Ursula K. Le Guin. twice winner of both the Hugo and Nebula awards. She writes: 'It is an idiosyncratic selection. and completely eclectic. of the stories will be familiar to anyone who reads, others are exotic discoveries. A very well-known piece ... seems less predictable set among works and fragments from the Orient and South America and distant centuries, by Kafka Swedeolorg Cortäzar, Akutagawa. Niu Chiao; its own essential strangeness is restored to This is, quite simply, the finest anthology of its kind. --front flap

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.

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 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.

'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.

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.

Jorge Luis Borges (24 August 1899 – 14 June 1986) was an Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish-language literature. This book contains English versions of 6 short stories and verses. “The Rejected Sorcerer” (aka El Brujo Postergado) (short story) “The Library of Babel” (short story) “The Babylonian Lottery” (short story) “The Circular Ruins” (short story) “The Card-Trick” (verse) “A Patio” (verse) First published “Fantastic Universe”, March 1960, “Encounter Magazine” 1962, 1963

A collection of essays that discusses the existence (or non-existence) of Hell, the flaws in English literary detectives, the philosophy of contradictions, and the many translators of '1001 Nights'. It examines the very nature of our lives, from cinema and books to history and religion.

"There Are More Things" is a SHORT STORY written by Argentine writer Jorge Luis Borges in 1975. It was first published in the short story collection The Book of Sand, as the collection's fourth entry. The story tells of the encounter the narrator has with a monstrous entity inhabiting an equally monstrous house. It bears the dedication "In Memory of H. P. Lovecraft" and accordingly holds many parallels with Lovecraft's stories, employing similar plot devices.The title alludes to Hamlet's lines "There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy". The story has been criticized because the episode of the encounter with the monster and the house—the heart of the story—which is described in the final two or so pages, is preceded by "eight pages of complicated subplots," spoiling "a basically sound idea. Borges himself was quite skeptical about his memorial to Lovecraft (as expressed in the book's epilogue), whom he in fact considered "an involuntary parodist of Poe."

Though best known in the English speaking world for his short fictions and poems, Borges is revered in Latin America equally as an immensely prolific and beguiling writer of non-fiction prose. In The Total Library, more than 150 of Borges' most brilliant pieces are brought together for the first time in one volume - all in superb new translations. More than a hundred of the pieces have never previously been published in English. The Total Library presents Borges at once as a deceptively self-effacing guide to the universe and as the inventor of a universe that is an indispensible guide to Borges.

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.

The Marvelous Borges Has another writer written to greater effect with fewer words? Whether in the form of the short story, essay, or poem, Jorge Luis Borges routinely performed astonishing turns of imagination in the length of a spare handful of pages. Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors. Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic. The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable). In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication. The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home. Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement. This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern maste...

"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").

Here is a handsome edition of one of Borges' "ficciones," in a translation first published in Labyrinths in 1962. It's an important story in the Borges' canon, incorporating most of the author's philosophical and esthetic preoccupations in a typically brief compass. With great solemnity and a convincing array of scholarly detail (including annotated references to imaginary books and articles), Borges concocts a fable of an alternate world and its infiltration of our own. The reality of Tlön is idealist: material objects have no existence; language has no nouns; its principal discipline is psychology, since its inhabitants see the universe as nothing but a series of mental processes. A series of 24 illustrations accompanies the text. Their disturbing resemblances to our reality make them appropriate reflections of Borges's imaginative constructs.' —The Kingston Whig-Standard

Хорхе Луїс Борхес (1899 – 1986) – культовий автор інтелектуалів, професор honoris causa провідних університетів світу й провідник Вавилонською бібліотекою й чи не всіма бібліотеками світу. Великий аргентинський письменник створив незвичайне послання – «Повідомлення Броуді». За псевдодокументальністю й алюзіями цього метатексту ховаються загадки історії, глибокі знання про людство, його богів й кумирів, видимі й невидимі світи. Камертоном збірки історій є Біблія, її сюжети й етика, інтерпретована простими словами. А проте: «Істинно кажу вам, Бог лише збирається створити цей світ».