What do you think?
Rate this book
丕賱鬲丕乇賷禺 丕賱賰賵賳賷 賱賱禺夭賷 賵賯氐氐 兀禺乇賶
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.
102 pages
First published January 1, 1935
339 people are currently reading
9,692 people want to read
About the author
Jorge Luis Borges
1,900听books13.7k听followersJorge Francisco Isidoro Luis Borges Acevedo was an Argentine short-story writer, essayist, poet and translator regarded as a key figure in Spanish-language and international literature. His best-known works, Ficciones (transl.鈥塅ictions) and El Aleph (transl.鈥塗he Aleph), published in the 1940s, are collections of short stories exploring motifs such as dreams, labyrinths, chance, infinity, archives, mirrors, fictional writers and mythology. Borges's works have contributed to philosophical literature and the fantasy genre, and have had a major influence on the magic realist movement in 20th century Latin American literature.
Born in Buenos Aires, Borges later moved with his family to Switzerland in 1914, where he studied at the Coll猫ge de Gen猫ve. The family travelled widely in Europe, including Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955, he was appointed director of the National Public Library and professor of English Literature at the University of Buenos Aires. He became completely blind by the age of 55. Scholars have suggested that his progressive blindness helped him to create innovative literary symbols through imagination. By the 1960s, his work was translated and published widely in the United States and Europe. Borges himself was fluent in several languages.
In 1961, he came to international attention when he received the first Formentor Prize, which he shared with Samuel Beckett. In 1971, he won the Jerusalem Prize. His international reputation was consolidated in the 1960s, aided by the growing number of English translations, the Latin American Boom, and by the success of Gabriel Garc铆a M谩rquez's One Hundred Years of Solitude. He dedicated his final work, The Conspirators, to the city of Geneva, Switzerland. Writer and essayist J.M. Coetzee said of him: "He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish-American novelists."
Born in Buenos Aires, Borges later moved with his family to Switzerland in 1914, where he studied at the Coll猫ge de Gen猫ve. The family travelled widely in Europe, including Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955, he was appointed director of the National Public Library and professor of English Literature at the University of Buenos Aires. He became completely blind by the age of 55. Scholars have suggested that his progressive blindness helped him to create innovative literary symbols through imagination. By the 1960s, his work was translated and published widely in the United States and Europe. Borges himself was fluent in several languages.
In 1961, he came to international attention when he received the first Formentor Prize, which he shared with Samuel Beckett. In 1971, he won the Jerusalem Prize. His international reputation was consolidated in the 1960s, aided by the growing number of English translations, the Latin American Boom, and by the success of Gabriel Garc铆a M谩rquez's One Hundred Years of Solitude. He dedicated his final work, The Conspirators, to the city of Geneva, Switzerland. Writer and essayist J.M. Coetzee said of him: "He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish-American novelists."
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 894 reviews
June 24, 2023
It is literally impossible to overvalue Jorge Luis Borges鈥� influence on the modern intellectual literature 鈥� however much we think he did, he did even more.
Similar to sounds, skilfully combined by a composer into a harmonious sequence, turning them into melody, simple words, cunningly used by an artful author, become an intellectual sonata.
Telling the tales of villainy Jorge Luis Borges turns reality into a baroque ornament of wickedness, grotesquely adding to evil supernatural features so that it becomes even more sinister.
An ingenious addition even a wee bit of magic to reality unfailingly turns it into a magnetizing object of art.
Similar to sounds, skilfully combined by a composer into a harmonious sequence, turning them into melody, simple words, cunningly used by an artful author, become an intellectual sonata.
The runaway expected his freedom. Lazarus Morell鈥檚 shadowy mulattoes would give out an order among themselves that was sometimes barely more than a nod of the head, and the slave would be freed from sight, hearing, touch, day, infamy, time, his benefactors, pity, the air, the hound packs, the world, hope, sweat, and himself. A bullet, a knife, or a blow, and the Mississippi turtles and catfish would receive the last evidence.
Telling the tales of villainy Jorge Luis Borges turns reality into a baroque ornament of wickedness, grotesquely adding to evil supernatural features so that it becomes even more sinister.
An ingenious addition even a wee bit of magic to reality unfailingly turns it into a magnetizing object of art.
January 3, 2022
From his early years the Argentinian writer Jorge Luis Borges lived among books and languages, classical literature from many civilizations and cultures: Chinese, Persian, Nordic, Spanish, to name several. His greatest childhood memory was his father's books; he was reading Shakespeare in English at age eleven; by the time he was an adult, Borges turned his mind into one vast, comprehensive library.
Therefore, it is a bit ironic this bookish man chose to write an entire collection of tales about men of sheer action and where the action is immorality, wickedness, injustice and evil. And A Universal History of Iniquity is a jewel. Unlike Borges's earlier baroque writings, these nine short tales are straightforward and make for easy reading. For the purposes of this review and to convey the flavor of the book, here are quotes with brief comments on two of the tales.
THE DISINTERESTED KILLER BILL HARRIGAN
At the very beginning, Borges writes, "The almost-child who died at the age of twenty-one owing a debt to human justice for the deaths of twenty-one men - "not counting Mexicans." Yes, this is a tale of Billy the Kid. Iniquity, indeed; Borges gives us several vivid, memorable images of what it is like to kill for the hell of it. For instance, one notorious Mexican gunslinger and outlaw walks into a bar, a shot rings out, (no need for a second shot) and Billy picked up the conversation where he left off. And then in the words of Borges, "That night Billy lays his blanket out next to the dead man and sleeps - ostentatiously - until morning."
MONK EASTMAN, PURVEYOR OF INIQUITIES
Here is a description of noted personalities from this urban tale, "The chaotic story takes place in the cellars of old breweries turned into Negro tenements, in a seedy, three-story New York City filed with gangs of thugs like the Swamp Angels, who would swarm out of the labyrinthine sewers on marauding expeditions; gangs of cutthroats like the Daybreak boys, who recruited precocious murderers of ten and eleven years old; brazen, solitary giants like the Plug Uglies, whose stiff bowler hats stuffed with wood and whose vast shirttails blowing in the wind of the slums might provoke a passerby's improbable smile, but who carried huge bludgeons in their right hands and long, narrow pistols; and gangs of street toughs like the Dead Rabbit gang, who entered into battle under the banner of their mascot impaled upon a pike. Its characters were men like Dandy Johnny Dolan, famed for his brilliantined forelock, the monkey-headed walking sticks he carried, and the delicate copper pick he wore on his thumb to gouge out his enemies' eyes: men like Kit Burns, who was known to bite the head off live rats; and men like blind Danny Lyons, a towheaded kid with huge dead eyes who pimped for three whores that proudly walked the streets for him."
I have included the long quote above for a specific reason: Borges was fascinated by the image and concept of labyrinths his entire life. However, such a labyrinth of unending perversion and violence was one Borges would never himself experience directly; rather, as a bookish, literary man, Borges entered this twisted human sewer through his imagination. And please keep in mind Borges was strongly influenced by the nineteenth century German philosopher Arthur Schopenhauer. The nastiness and brutality of life outlined by Schopenhauer made an indelible impression on the sensitive author.
My guess is anyone reading this review is light-years away from entering a world where teenagers kill for the hell of it or cutthroat gangs hack and slice one another to pieces under the banner of an impaled dog or rabbit. But such worlds existed aplenty in the 19th and early 20th century and they still exist today. How to experience these violent worlds for yourself? One easy answer: let Jorge Luis Borges give you a guided tour.
Young Jorge Luis Borges - Can you imagine young Borges as part of the New York City kids gang in the photo at the top?
October 25, 2024
Cred c膬 nimeni nu poate uita (dac膬 a citit-o) povestirea despre profetul cu fa葲a acoperit膬, Hakim din Merv. Adep葲ii s膬i spun c膬 poart膬 un v膬l brodat cu pietre pre葲ioase, pentru ca nimeni s膬 nu fie orbit de privirea lui necru葲膬toare. Ochii lui fanatici ard. 脦n realitate, profetul este un impostor. 葮i nu e singurul impostor din acest volum. 脦葯i ascunde fa葲a, pentru c膬 este bolnav de lepr膬:
鈥濩u capetele plecate, smeri葲i..., doi c膬pitani 卯i smulser膬 V膬lul... 脦n prima clip膬, totul n-a fost dec卯t cutremurare. F膬g膬duitul chip al Apostolului, chipul care fusese 卯n ceruri, era 卯ntr-adev膬r alb, dar de acel alb specific leprei desc膬rnate...鈥�.
Borges 葯i-a publicat textele 卯n suplimentul literar al ziarului Critica (1933-1934), apoi le-a adunat, 卯n 1935, 卯ntr-un volum tip膬rit 卯n 2000 de exemplare, 鈥瀉l c膬rui titlu - ca s膬-l citez pe autor - e mai frumos dec卯t cuprinsul鈥�, 葯i nu a pus niciodat膬 prea mare pre葲 pe ele: 鈥濻卯nt ni葯te exerci葲ii narative banale, 卯mi c膬utam drumul鈥�. Dar lectura c膬r葲ii dovede葯te c膬 Borges 卯l g膬sise deja. Inclusiv ideea c膬 literatura rescrie 卯n felurite chipuri un num膬r finit 葯i nu foarte mare de metafore.
Cel mai mult mi-a pl膬cut povestirea 鈥濾r膬jitorul am卯nat / El brujo postergado鈥�: un om tr膬ie葯te o via葲膬 卯ntr-o clipit膬. V膬 invit s-o citi葲i. S膬 mai spun (precum ilu葯trii cronicari de pe 欧宝娱乐) c膬 se cite葯te 鈥瀝epede 葯i u葯or鈥�? Are doar dou膬 pagini...
鈥濩u capetele plecate, smeri葲i..., doi c膬pitani 卯i smulser膬 V膬lul... 脦n prima clip膬, totul n-a fost dec卯t cutremurare. F膬g膬duitul chip al Apostolului, chipul care fusese 卯n ceruri, era 卯ntr-adev膬r alb, dar de acel alb specific leprei desc膬rnate...鈥�.
Borges 葯i-a publicat textele 卯n suplimentul literar al ziarului Critica (1933-1934), apoi le-a adunat, 卯n 1935, 卯ntr-un volum tip膬rit 卯n 2000 de exemplare, 鈥瀉l c膬rui titlu - ca s膬-l citez pe autor - e mai frumos dec卯t cuprinsul鈥�, 葯i nu a pus niciodat膬 prea mare pre葲 pe ele: 鈥濻卯nt ni葯te exerci葲ii narative banale, 卯mi c膬utam drumul鈥�. Dar lectura c膬r葲ii dovede葯te c膬 Borges 卯l g膬sise deja. Inclusiv ideea c膬 literatura rescrie 卯n felurite chipuri un num膬r finit 葯i nu foarte mare de metafore.
Cel mai mult mi-a pl膬cut povestirea 鈥濾r膬jitorul am卯nat / El brujo postergado鈥�: un om tr膬ie葯te o via葲膬 卯ntr-o clipit膬. V膬 invit s-o citi葲i. S膬 mai spun (precum ilu葯trii cronicari de pe 欧宝娱乐) c膬 se cite葯te 鈥瀝epede 葯i u葯or鈥�? Are doar dou膬 pagini...
January 9, 2023
A series of narrative prose exercises: Borges's definition of this book, which he recognizes as inspired by other authors. Borges recreates the characters and transforms their story "into an irresponsible game of a timid one who did not have the courage to write tales and who was amused by falsifying or altering (sometimes without aesthetic excuse) the stories of the other."
If the author's entertainment is prominent, Borges sprinkles other illusions by inserting pure, personal inventions, playing on literary variations in his book's baroque aesthetic and giving it a complexity halfway between the essay and tale. Beyond the game of illusion and deception, the author poses the problem of the representative elements of the ego and its ideal, strongly constitutive of the poetic subject specific to Borges that he will sublimate in the eternal games of the mirror.
If the author's entertainment is prominent, Borges sprinkles other illusions by inserting pure, personal inventions, playing on literary variations in his book's baroque aesthetic and giving it a complexity halfway between the essay and tale. Beyond the game of illusion and deception, the author poses the problem of the representative elements of the ego and its ideal, strongly constitutive of the poetic subject specific to Borges that he will sublimate in the eternal games of the mirror.
May 27, 2024
"Reading... is an activity subsequent to writing - more resigned, more civil, more intellectual" (the closing words to the preface of the first edition).
I have the Complete Fictions (with copious translator's notes), but am splitting my review of that into its components, listed in publication order: Collected Fictions - all reviews. This is the first, published in 1935.
I had read several profound and passionate reviews by friends, and felt the building lure of Borges, aided by a growing awareness of how influential he was to many other writers. I came to Borges with high expectations.
I'm glad I had first dipped into several pieces from later volumes (thanks for the suggestions, Steve) before reading these. Although I give this only 3*, I'm assured of greater (much greater) things to come.
This is a collection of semi-fictionalised, but mostly straightforward accounts of exotic and infamous criminals around the world, plus one story that is not based on fact. Borges describes them as Baroque exercises, bordering on self-parody, and partially inspired by G K Chesterton. He defines Baroque as "the final stage in all art, when art flaunts and squanders its resources". They're well-written, and quite original in many ways, but crime fiction and biography are not favourite genres of mine, hence only 3* for my enjoyment.
The Cruel Redeemer of Lazarus Morell
Morell is a poor white man, with a scam to help slaves escape plantations to freedom.
I know that labyrinths recur throughout Borges' work, and the first mention is on the second page, in relation to the Mississippi delta.
The Improbable Imposter Tom Castro 5*
This story reminded me of Patricia Highsmith's Talented Mr Ripley. Tom is an opportunist, who with the encouragement of a friend, presents himself as the long-lost son of a titled lady. Part of the plan is that he looks SO unlike the other man, he couldn't possibly be an impostor. "In a few days she had recaptured the recollections her son had invoked."
The Widow Ching - Pirate
Early Chinese girl power and a pirate code (based on a real one) that prohibits rape. Plausible pseudo-history - then dragons (which turn out to be kites).
Monk Eastman, Purveyor of Iniquities
A New York gangster, with eventual connections to the Kelly Gang, via "labyrinthine sewers".
The Disinterested Killer Bill Harrigan
Billy the Kid frequents labyrinths and by 14, kills for mindless thrills (and sometimes other rewards). "He never fully measured up to the legend of himself."
The Uncivil Teacher of Court Etiquette Kotsuk茅 no Suk茅
For Samuri, honour can mean being "granted the privilege of suicide".
Hakim, The Masked Dyer of Merv
"The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it." (This is paraphrased in the truly wonderful Tlon, Uqbar, Orbis Tertius, which is the first story of the next volume.)
Man on Pink Corner
This is a first-person story of knife fighters, not based on on a real person, and the translator's notes point out that the "pink" of the title refers to a rough area of Buenos Aires, and the lack of definite pronoun conjures a painting (perhaps Edward Hopper). In the final sentence, the unnamed narrator makes it clear he's telling the story to Borges - an early nod to the way Borges later blends levels of reality.
There is another version of this in Brodie鈥檚 Report. Both include the line 鈥淩osendo, I think you鈥檙e needing this鈥� as a woman hands him his own knife, from up his sleeve.
Et Cetera
This section contains even shorter pieces, some of which probably presage later works:
A Theologian In Death
A theologian in a mysterious and unfamilar house of many rooms is in denial of his own death. Maybe.
The Chamber of Statues
A fairytale-like allegory of death, via series of locked rooms, from 1000 nights.
The Story of the Two Dreamers
From The Arabian Nights. A very short fable of a fall from wealth, coincidence, reflection (in more than one sense), and following dreams (nocturnal ones), but still having to put in a little hard graft.
The Wizard that was Made to Wait 5*
Fairytale repetition: a wizard teaches magic to a priest on the promise of reward for his son, perpetually postponed. It's a retelling of Juan Manuel's tale from 1335, El brujo Postergado.
The Mirror of Ink
Visions in a different sort of mirror. Rorschach might approve.
Mahomed's Double
Lots of them! In the light of Rushdie and Charlie Hebdo, I'm not sure this would go unchallenged if published for the first time now.
Index of Sources
Another layer of fiction, or at least blurring the boundaries.
Quotes
鈥� 鈥淥nto an alluvium of beastlike hopelessness and African fear there had sifted the words of the Scripture.鈥�
鈥� "The female soil, worn and haggard from bearing that impatient culture's get, was left barren."
鈥� Facial "features of an infinite vagueness".
鈥� Writing "free of any scruples as to the way words ought to be spelled".
鈥� Kosher "calves whose throats had been slit with righteousness".
鈥� "History (which, like a certain motion picture director, tells its story in discontinuous images)"
鈥� Leaving a bar "in the drunken dizziness of the tango, like they were drowning in that tango".
I have the Complete Fictions (with copious translator's notes), but am splitting my review of that into its components, listed in publication order: Collected Fictions - all reviews. This is the first, published in 1935.
I had read several profound and passionate reviews by friends, and felt the building lure of Borges, aided by a growing awareness of how influential he was to many other writers. I came to Borges with high expectations.
I'm glad I had first dipped into several pieces from later volumes (thanks for the suggestions, Steve) before reading these. Although I give this only 3*, I'm assured of greater (much greater) things to come.
This is a collection of semi-fictionalised, but mostly straightforward accounts of exotic and infamous criminals around the world, plus one story that is not based on fact. Borges describes them as Baroque exercises, bordering on self-parody, and partially inspired by G K Chesterton. He defines Baroque as "the final stage in all art, when art flaunts and squanders its resources". They're well-written, and quite original in many ways, but crime fiction and biography are not favourite genres of mine, hence only 3* for my enjoyment.
The Cruel Redeemer of Lazarus Morell
Morell is a poor white man, with a scam to help slaves escape plantations to freedom.
I know that labyrinths recur throughout Borges' work, and the first mention is on the second page, in relation to the Mississippi delta.
The Improbable Imposter Tom Castro 5*
This story reminded me of Patricia Highsmith's Talented Mr Ripley. Tom is an opportunist, who with the encouragement of a friend, presents himself as the long-lost son of a titled lady. Part of the plan is that he looks SO unlike the other man, he couldn't possibly be an impostor. "In a few days she had recaptured the recollections her son had invoked."
The Widow Ching - Pirate
Early Chinese girl power and a pirate code (based on a real one) that prohibits rape. Plausible pseudo-history - then dragons (which turn out to be kites).
Monk Eastman, Purveyor of Iniquities
A New York gangster, with eventual connections to the Kelly Gang, via "labyrinthine sewers".
The Disinterested Killer Bill Harrigan
Billy the Kid frequents labyrinths and by 14, kills for mindless thrills (and sometimes other rewards). "He never fully measured up to the legend of himself."
The Uncivil Teacher of Court Etiquette Kotsuk茅 no Suk茅
For Samuri, honour can mean being "granted the privilege of suicide".
Hakim, The Masked Dyer of Merv
"The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it." (This is paraphrased in the truly wonderful Tlon, Uqbar, Orbis Tertius, which is the first story of the next volume.)
Man on Pink Corner
This is a first-person story of knife fighters, not based on on a real person, and the translator's notes point out that the "pink" of the title refers to a rough area of Buenos Aires, and the lack of definite pronoun conjures a painting (perhaps Edward Hopper). In the final sentence, the unnamed narrator makes it clear he's telling the story to Borges - an early nod to the way Borges later blends levels of reality.
There is another version of this in Brodie鈥檚 Report. Both include the line 鈥淩osendo, I think you鈥檙e needing this鈥� as a woman hands him his own knife, from up his sleeve.
Et Cetera
This section contains even shorter pieces, some of which probably presage later works:
A Theologian In Death
A theologian in a mysterious and unfamilar house of many rooms is in denial of his own death. Maybe.
The Chamber of Statues
A fairytale-like allegory of death, via series of locked rooms, from 1000 nights.
The Story of the Two Dreamers
From The Arabian Nights. A very short fable of a fall from wealth, coincidence, reflection (in more than one sense), and following dreams (nocturnal ones), but still having to put in a little hard graft.
The Wizard that was Made to Wait 5*
Fairytale repetition: a wizard teaches magic to a priest on the promise of reward for his son, perpetually postponed. It's a retelling of Juan Manuel's tale from 1335, El brujo Postergado.
The Mirror of Ink
Visions in a different sort of mirror. Rorschach might approve.
Mahomed's Double
Lots of them! In the light of Rushdie and Charlie Hebdo, I'm not sure this would go unchallenged if published for the first time now.
Index of Sources
Another layer of fiction, or at least blurring the boundaries.
Quotes
鈥� 鈥淥nto an alluvium of beastlike hopelessness and African fear there had sifted the words of the Scripture.鈥�
鈥� "The female soil, worn and haggard from bearing that impatient culture's get, was left barren."
鈥� Facial "features of an infinite vagueness".
鈥� Writing "free of any scruples as to the way words ought to be spelled".
鈥� Kosher "calves whose throats had been slit with righteousness".
鈥� "History (which, like a certain motion picture director, tells its story in discontinuous images)"
鈥� Leaving a bar "in the drunken dizziness of the tango, like they were drowning in that tango".
March 2, 2015
"In matters of grave importance, style, not sincerity, is the vital thing."
Oscar Wilde
Exercises in Style
These stories are fascinating exercises in style.
They effectively document the development of Borges' style at a time when "he was a shy sort of man who could not bring himself to write short stories, and so amused himself by changing and distorting (sometimes without aesthetic justification) the stories of other men."
Matter of Fact
As Borges said in an earlier Preface, "the stories are not, nor do they attempt to be, psychological."
I assume he meant they weren't concerned with the internal consciousness and motivation of the characters. Borges was primarily concerned with external facts, in effect, what could be witnessed or seen by those present.
Only, in relation to writing, an author can help a reader to be vicariously present, and therefore to become a witness to what had been related by the author, or at least the narrator.
Good, Compliant Readers
Borges isn't interested in sincerity, because that can be faked.
Rather, he's interested in fact and factuality (and, ironically, how that can be faked).
One might expect that matters of fact would be truthful and undeniable. If you write matter of factly, then the reader will believe you.
Borges mentions that reading "is an activity subsequent to writing - more resigned, more civil, more intellectual."
It has the benefit of the writing, which necessarily has preceded it. The reader tends to give primacy to the writer, and therefore is both less sceptical and more trusting.
However, when the author or narrator decides to play a game with the reader, then the reading can be no more authentic than the writing. An author or narrator can make a reader complicit in their fraud, their forgery of truth.
An Impostor Forges His Style
These exercises in style, therefore, witness Borges mimicking and constructing styles of fiction and non-fiction that give the appearance of truth, veracity and authenticity.
If he fakes the style of non-fiction well enough, we will assume that he is sincere, or at least as sincere as history is capable of.
Of course, it's not enough that we believe that what is factual is true. Borges must make us believe that what is not true or factual is true as well.
He achieves this by setting his untruths in other people's truths. If he does this seamlessly enough, we won't be able to tell the difference.
Borges, therefore, starts even this work as an impostor, or at least as someone who is interested in the methodology of imposture.
The Virtues of Unlikeness
It's a game, of course. As well as a challenge. Having mastered likeness, the challenge is to embrace the virtues of unlikeness.
The more improbable the imposture, the greater the game.
How much can Borges get away with? The paradox being that the success of the likeness on the same page might draw attention to and undermine the unlikeness. Still, Borges believes that the dilemma can be overcome with greater, rather than less, audacity:
"Bogle knew that a perfect facsimile of the beloved Roger Charles Tichborne was impossible to find; he knew as well that any similarities he might achieve would only underscore certain inevitable differences. He therefore gave up the notion of likeness altogether. He sensed that the vast ineptitude of his pretence would be a convincing proof that there was no fraud, for no fraud would ever have so flagrantly flaunted features that might so easily have convinced."
Man on Pink Corner
Having eschewed psychology, having forged the appearance of likeness, having melded likeness and unlikeness, Borges was now ready to write "Man on Pink Corner", what seems to be a genuinely fictitious short story (or is it?).
Presumably, nothing in fiction need be truly factual, although the author might seek to persuade us that it is. Fiction is, by definition, a pretence.
If Borges could master fraud, was he now ready to master pretence?
Some guide to Borges' modus operandi is revealed in the first sentence:
"Imagine you bringing up Francisco Real that way, out of the clear blue sky, him dead and gone and all."
Unlike the earlier stories, there is a first person narrator. The subject is Real, if not necessarily real. He is ostensibly invented out of nothing, brought up out of the clear blue sky. And the inventor is the second person, "you", perhaps the reader, though it could equally be Borges himself or at least "Borges".
An Imaginary Primer
Our role, the role of the reader, is to be the agent who complies with the instruction implicit in the first word, "imagine".
Borges entrusts us to be "more resigned, more civil, more intellectual." We have to be, in order to participate in and enjoy his labyrinthine games of the imagination.
Needless to say, Borges is an adept teacher, and this is both his and our first primer.
What's remarkable is that we learn to read as we watch him teach himself how to write.
Of course, it was only the beginning!
SOUNDTRACK:
Deborah Conway - "It's Only The Beginning"
Oscar Wilde
Exercises in Style
These stories are fascinating exercises in style.
They effectively document the development of Borges' style at a time when "he was a shy sort of man who could not bring himself to write short stories, and so amused himself by changing and distorting (sometimes without aesthetic justification) the stories of other men."
Matter of Fact
As Borges said in an earlier Preface, "the stories are not, nor do they attempt to be, psychological."
I assume he meant they weren't concerned with the internal consciousness and motivation of the characters. Borges was primarily concerned with external facts, in effect, what could be witnessed or seen by those present.
Only, in relation to writing, an author can help a reader to be vicariously present, and therefore to become a witness to what had been related by the author, or at least the narrator.
Good, Compliant Readers
Borges isn't interested in sincerity, because that can be faked.
Rather, he's interested in fact and factuality (and, ironically, how that can be faked).
One might expect that matters of fact would be truthful and undeniable. If you write matter of factly, then the reader will believe you.
Borges mentions that reading "is an activity subsequent to writing - more resigned, more civil, more intellectual."
It has the benefit of the writing, which necessarily has preceded it. The reader tends to give primacy to the writer, and therefore is both less sceptical and more trusting.
However, when the author or narrator decides to play a game with the reader, then the reading can be no more authentic than the writing. An author or narrator can make a reader complicit in their fraud, their forgery of truth.
An Impostor Forges His Style
These exercises in style, therefore, witness Borges mimicking and constructing styles of fiction and non-fiction that give the appearance of truth, veracity and authenticity.
If he fakes the style of non-fiction well enough, we will assume that he is sincere, or at least as sincere as history is capable of.
Of course, it's not enough that we believe that what is factual is true. Borges must make us believe that what is not true or factual is true as well.
He achieves this by setting his untruths in other people's truths. If he does this seamlessly enough, we won't be able to tell the difference.
Borges, therefore, starts even this work as an impostor, or at least as someone who is interested in the methodology of imposture.
The Virtues of Unlikeness
It's a game, of course. As well as a challenge. Having mastered likeness, the challenge is to embrace the virtues of unlikeness.
The more improbable the imposture, the greater the game.
How much can Borges get away with? The paradox being that the success of the likeness on the same page might draw attention to and undermine the unlikeness. Still, Borges believes that the dilemma can be overcome with greater, rather than less, audacity:
"Bogle knew that a perfect facsimile of the beloved Roger Charles Tichborne was impossible to find; he knew as well that any similarities he might achieve would only underscore certain inevitable differences. He therefore gave up the notion of likeness altogether. He sensed that the vast ineptitude of his pretence would be a convincing proof that there was no fraud, for no fraud would ever have so flagrantly flaunted features that might so easily have convinced."
Man on Pink Corner
Having eschewed psychology, having forged the appearance of likeness, having melded likeness and unlikeness, Borges was now ready to write "Man on Pink Corner", what seems to be a genuinely fictitious short story (or is it?).
Presumably, nothing in fiction need be truly factual, although the author might seek to persuade us that it is. Fiction is, by definition, a pretence.
If Borges could master fraud, was he now ready to master pretence?
Some guide to Borges' modus operandi is revealed in the first sentence:
"Imagine you bringing up Francisco Real that way, out of the clear blue sky, him dead and gone and all."
Unlike the earlier stories, there is a first person narrator. The subject is Real, if not necessarily real. He is ostensibly invented out of nothing, brought up out of the clear blue sky. And the inventor is the second person, "you", perhaps the reader, though it could equally be Borges himself or at least "Borges".
An Imaginary Primer
Our role, the role of the reader, is to be the agent who complies with the instruction implicit in the first word, "imagine".
Borges entrusts us to be "more resigned, more civil, more intellectual." We have to be, in order to participate in and enjoy his labyrinthine games of the imagination.
Needless to say, Borges is an adept teacher, and this is both his and our first primer.
What's remarkable is that we learn to read as we watch him teach himself how to write.
Of course, it was only the beginning!
SOUNDTRACK:
Deborah Conway - "It's Only The Beginning"
August 22, 2014
Leer Historia Universal de la Infamia es ir a la caza de la delgada l铆nea roja. 脡sa que separa, imperceptible, la realidad y la ficci贸n. Sucede que, en esta antolog铆a de relatos criminales, Borges se apropia de historias ver铆dicas (sin duda, ca铆das del ambar de viejas p谩ginas policiales o de las polvorientas leyendas de anta帽o) y las envuelve en una atm贸sfera fascinante. En una telara帽a de detalles asombrosos, que son una reescritura de lo real y que, incluso, lo perfeccionan.
Curioso: el autor logra todo esto sin caer en la pulsi贸n falsificadora de los escritores. 脡sa que los lleva remodelar el pedestre edificio de los hechos, en busca de una belleza que son incapaces de extraer de la realidad. Borges, no: aunque enriquece la historia con elementos novedosos, respeta tanto los fundamentos de lo cotidiano que resulta muy dif铆cil distinguir d贸nde termina la literatura y d贸nde comienza la Historia.
As铆, desfilan por las p谩ginas de este libro, resucitados por una de las mejores plumas del mundo, c茅lebres maleantes de todos los tiempos y de todas las culturas: la viuda Ching, temible pirata del Oriente; Billy the Kid, bandido de los desiertos de Arizona; y el impostor Tom Castro, quien se hizo pasar por un rico desaparecido y pretendi贸 quedarse con su fortuna. Por supuesto: en Historia Universal de la Infamia, hay otros rutilantes asesinos. Otras glorias criminales y majestuosos estafadores. Porque la realidad, al igual que la ficci贸n, es m煤ltiple y sorprendente. Quiz谩s por eso, en el cap铆tulo final (llamado "贰迟肠茅迟别谤补"), Borges introduce 6 relatos nuevos, enteramente ficcionales.
Pese a la amplitud de su tem谩tica, las historias de este libro son breves y concisas. Como es caracter铆stico del autor. Se organizan, incluso, en subt铆tulos que sistematizan la acci贸n y simplifican la lectura. Es decir: aquellos que temen a Borges, a su pasi贸n -a veces ininteligible- por el mito y lo metaf铆sico, pueden trabar una incipiente amistad con 茅l por medio de este libro, sin miedo a extravirse en sus laberintos conceptuales. Eso s铆: prep谩rense para cuestionar la realidad. Porque, en una vuelta de p谩gina cualquiera, la ficci贸n toma su lugar. Inadvertidamente, como los estafadores e impostores de la historia. Y, entonces, sucede la magia.
Curioso: el autor logra todo esto sin caer en la pulsi贸n falsificadora de los escritores. 脡sa que los lleva remodelar el pedestre edificio de los hechos, en busca de una belleza que son incapaces de extraer de la realidad. Borges, no: aunque enriquece la historia con elementos novedosos, respeta tanto los fundamentos de lo cotidiano que resulta muy dif铆cil distinguir d贸nde termina la literatura y d贸nde comienza la Historia.
As铆, desfilan por las p谩ginas de este libro, resucitados por una de las mejores plumas del mundo, c茅lebres maleantes de todos los tiempos y de todas las culturas: la viuda Ching, temible pirata del Oriente; Billy the Kid, bandido de los desiertos de Arizona; y el impostor Tom Castro, quien se hizo pasar por un rico desaparecido y pretendi贸 quedarse con su fortuna. Por supuesto: en Historia Universal de la Infamia, hay otros rutilantes asesinos. Otras glorias criminales y majestuosos estafadores. Porque la realidad, al igual que la ficci贸n, es m煤ltiple y sorprendente. Quiz谩s por eso, en el cap铆tulo final (llamado "贰迟肠茅迟别谤补"), Borges introduce 6 relatos nuevos, enteramente ficcionales.
Pese a la amplitud de su tem谩tica, las historias de este libro son breves y concisas. Como es caracter铆stico del autor. Se organizan, incluso, en subt铆tulos que sistematizan la acci贸n y simplifican la lectura. Es decir: aquellos que temen a Borges, a su pasi贸n -a veces ininteligible- por el mito y lo metaf铆sico, pueden trabar una incipiente amistad con 茅l por medio de este libro, sin miedo a extravirse en sus laberintos conceptuales. Eso s铆: prep谩rense para cuestionar la realidad. Porque, en una vuelta de p谩gina cualquiera, la ficci贸n toma su lugar. Inadvertidamente, como los estafadores e impostores de la historia. Y, entonces, sucede la magia.
December 8, 2023
'A Universal History of Infamy' is a collection of short, 'baroque' (according to the author), merely entertaining stories. The protagonists of these stories have real names of real famous criminals who got really lucky after their death. The reason for it is that Jorge Luis Borges re-created their personalities and filled their stories with the magic, beauty, wisdom and humour the real culprits could not dream of.
'Reading, obviously, is an activity which comes after that of writing; it is more modest, more unobtrusive, more intellectual.'
(From 'Preface to the First Edition')
------------------------------------------------------------------------------
'I would say that the final stage of all styles is baroque when that style only too obviously exhibits or overdoes its own tricks. The baroque is intellectual, and Bernard Shaw has stated that all intellectual labour is essentially humorous. Such humour is not deliberate in the work of Baltasar
Gracian, but is deliberate, or self-conscious, in John Donne鈥檚. The very tide of these pages flaunts their baroque character. To curb them would amount to destroying them; that is why I now prefer to invoke the pronouncement 鈥榃hat I have written I have written鈥� (John 19:22) and to reprint them, twenty year later, as they stand. They are the irresponsible game of a shy young man who dared not write stories and so amused himself by falsifying and distorting (without any aesthetic justification whatever) the tales of others.'
(From 'Preface to the 1954 Edition')
'Reading, obviously, is an activity which comes after that of writing; it is more modest, more unobtrusive, more intellectual.'
(From 'Preface to the First Edition')
------------------------------------------------------------------------------
'I would say that the final stage of all styles is baroque when that style only too obviously exhibits or overdoes its own tricks. The baroque is intellectual, and Bernard Shaw has stated that all intellectual labour is essentially humorous. Such humour is not deliberate in the work of Baltasar
Gracian, but is deliberate, or self-conscious, in John Donne鈥檚. The very tide of these pages flaunts their baroque character. To curb them would amount to destroying them; that is why I now prefer to invoke the pronouncement 鈥榃hat I have written I have written鈥� (John 19:22) and to reprint them, twenty year later, as they stand. They are the irresponsible game of a shy young man who dared not write stories and so amused himself by falsifying and distorting (without any aesthetic justification whatever) the tales of others.'
(From 'Preface to the 1954 Edition')
May 5, 2023
A Universal History of Iniquity is a collection of short stories by Jorge Luis Borges, first published in 1935, and revised by the author in 1954. Most were published individually in the newspaper 颁谤铆迟颈肠补 between 1933 and 1934. Angel Flores, the first to use the term "magical realism", set the beginning of the movement with this book.
The stories (except "Man on Pink Corner") are fictionalised accounts of real criminals. The sources are listed at the end of the book, but Borges makes many alterations in the retelling鈥攁rbitrary or otherwise鈥攑articularly to dates and names, so the accounts cannot be relied upon as historical. In particular, "The Disinterested Killer diverges" from its source material.
Borges was reluctant to authorise a translation. In his preface to the 1954 edition, Borges distanced himself somewhat from the book, which he gave as an example of the baroque, "when art flaunts and squanders its resources"; he wrote that the stories are "the irresponsible sport of a shy sort of man who could not bring himself to write short stories, and so amused himself by changing and distorting (sometimes without aesthetic justification) the stories of other men" and that "there is nothing beneath all the storm and the lightning."
The first story follows Lazarus Morell, a white man who grew up on the banks of the Mississippi and later becomes a leader of crooks who devise the following scam: they persuade gullible Black enslaved people to run away from their owners and allow themselves to be sold on by the Morell gang who promise to liberate them and share the proceeds of this sale. But of course, they don鈥檛.
Another story follows Arthur Orton, who later took on the name Tom Castro. Born in East London in 1834, he ran away and resurfaced in Sydney, Australia, some decades later. There he decides to pose as Roger Charles Tichborne, heir to one of the greatest Roman Catholic families in England. Roger is missing and his family advertised widely through the colonies for his return. Castro saw his chance to make easy money and pose as the Tichborne's son.
Yet another story follows Bill Harrigan, a street hoodlum born in the very tough slums of New York who supposedly killed his first man at age 14.
I think you get the gist of what Borges tried to do here. And whilst I think that these short vignettes on different criminals might have worked as serialised newspaper articles, they make for a poor short story collection. I just don't see any sense or interest in any of them stories. They don't seem literary, even though they are purposefully fictionalised and decidedly not nonfiction. I just didn't care for any of the criminals and Borges' writing didn't hold my attention.
I also don't see why or how this short story collection can be classified as magical realism. To me, it definitely veers towards the "realism" end.
I'm definitely not giving up on Borges yet because I am aware that his first "short story" collection is very different from everything else that followed. I'm still very much interested in Borges' proper short stories and his take of the genre of magical realism. It's also "nice" to know that Borges himself was kind of embarrassed about that silly little collection of his and didn't necessarily wanted it to be translated. I can definitely see why a writer of his caliber would look back in embarrassment on this unskillful attempt at retelling/imitation of his youth. Definitely not Borges at his best!
TW: racism, sexism, use of the n-word
The stories (except "Man on Pink Corner") are fictionalised accounts of real criminals. The sources are listed at the end of the book, but Borges makes many alterations in the retelling鈥攁rbitrary or otherwise鈥攑articularly to dates and names, so the accounts cannot be relied upon as historical. In particular, "The Disinterested Killer diverges" from its source material.
Borges was reluctant to authorise a translation. In his preface to the 1954 edition, Borges distanced himself somewhat from the book, which he gave as an example of the baroque, "when art flaunts and squanders its resources"; he wrote that the stories are "the irresponsible sport of a shy sort of man who could not bring himself to write short stories, and so amused himself by changing and distorting (sometimes without aesthetic justification) the stories of other men" and that "there is nothing beneath all the storm and the lightning."
The first story follows Lazarus Morell, a white man who grew up on the banks of the Mississippi and later becomes a leader of crooks who devise the following scam: they persuade gullible Black enslaved people to run away from their owners and allow themselves to be sold on by the Morell gang who promise to liberate them and share the proceeds of this sale. But of course, they don鈥檛.
Another story follows Arthur Orton, who later took on the name Tom Castro. Born in East London in 1834, he ran away and resurfaced in Sydney, Australia, some decades later. There he decides to pose as Roger Charles Tichborne, heir to one of the greatest Roman Catholic families in England. Roger is missing and his family advertised widely through the colonies for his return. Castro saw his chance to make easy money and pose as the Tichborne's son.
Yet another story follows Bill Harrigan, a street hoodlum born in the very tough slums of New York who supposedly killed his first man at age 14.
I think you get the gist of what Borges tried to do here. And whilst I think that these short vignettes on different criminals might have worked as serialised newspaper articles, they make for a poor short story collection. I just don't see any sense or interest in any of them stories. They don't seem literary, even though they are purposefully fictionalised and decidedly not nonfiction. I just didn't care for any of the criminals and Borges' writing didn't hold my attention.
I also don't see why or how this short story collection can be classified as magical realism. To me, it definitely veers towards the "realism" end.
I'm definitely not giving up on Borges yet because I am aware that his first "short story" collection is very different from everything else that followed. I'm still very much interested in Borges' proper short stories and his take of the genre of magical realism. It's also "nice" to know that Borges himself was kind of embarrassed about that silly little collection of his and didn't necessarily wanted it to be translated. I can definitely see why a writer of his caliber would look back in embarrassment on this unskillful attempt at retelling/imitation of his youth. Definitely not Borges at his best!
TW: racism, sexism, use of the n-word
November 14, 2020
Desde os idos tempos, em que uma esbelta mulher decidiu desfrutar de um belo pomo escarlate, implantou-se um fasc铆nio subversivo ante a vilania. Qui莽谩, numa perspectiva de psicologia reversa, pretende-se disseminar li莽玫es de moral para que o mal possa ser debelado e n茫o se insurgir como entidade virulenta que 茅. Mas do contacto sucessivo poder茫o resultar efeitos nefastos e contr谩rios aos esperados.
Neste conjunto de relatos, Borges re煤ne relatos que conferem pinceladas sobre a vida de vis personagens, erigidas sob um muro de escravid茫o, lenoc铆nio, saque e homic铆dio. Mas, qual golpe cervical que emana golfadas de sangue, o conhecimento 茅 contido. Colocam-se holofotes sob epis贸dios dessas exist锚ncias errantes, ao ritmo de um sino a repique, pelo que a rela莽茫o estabelecida, entre leitor e personagens, 茅 enviesada e enclausurada, limitando-a a um fino esgar de dor.
Este primeiro contacto com a escrita peculiar deste autor sublime faz lembrar o jogo do toca e foge. As enumera莽玫es quase sem sentido podem tentar o foco de cada um de n贸s. No entanto, o trabalho de revis茫o ter谩 de merecer o destaque. Mais para mais, quando o pr贸prio Borges enaltece a experi锚ncia da leitura; ela que engrandece todos em que toca. Para o mal, mas sobretudo para o bem de cada um (pratos da balan莽a, em equil铆brio constante)!
"A terra que habitamos 茅 um erro, uma incompetente imita莽茫o. Os espelhos e a paternidade s茫o abomin谩veis porque a multiplicam e afirmam. O nojo 茅 a virtude fundamental. Duas disciplinas (cuja escolha deixava livre o profeta) podem conduzir-nos a ela: a abstin锚ncia e a lux煤ria, o exerc铆cio da carne ou a sua castidade."
Neste conjunto de relatos, Borges re煤ne relatos que conferem pinceladas sobre a vida de vis personagens, erigidas sob um muro de escravid茫o, lenoc铆nio, saque e homic铆dio. Mas, qual golpe cervical que emana golfadas de sangue, o conhecimento 茅 contido. Colocam-se holofotes sob epis贸dios dessas exist锚ncias errantes, ao ritmo de um sino a repique, pelo que a rela莽茫o estabelecida, entre leitor e personagens, 茅 enviesada e enclausurada, limitando-a a um fino esgar de dor.
Este primeiro contacto com a escrita peculiar deste autor sublime faz lembrar o jogo do toca e foge. As enumera莽玫es quase sem sentido podem tentar o foco de cada um de n贸s. No entanto, o trabalho de revis茫o ter谩 de merecer o destaque. Mais para mais, quando o pr贸prio Borges enaltece a experi锚ncia da leitura; ela que engrandece todos em que toca. Para o mal, mas sobretudo para o bem de cada um (pratos da balan莽a, em equil铆brio constante)!
"A terra que habitamos 茅 um erro, uma incompetente imita莽茫o. Os espelhos e a paternidade s茫o abomin谩veis porque a multiplicam e afirmam. O nojo 茅 a virtude fundamental. Duas disciplinas (cuja escolha deixava livre o profeta) podem conduzir-nos a ela: a abstin锚ncia e a lux煤ria, o exerc铆cio da carne ou a sua castidade."
October 17, 2021
Borges鈥檌miz her zamanki gibi. Al莽akl谋klar谋yla nam salm谋艧 ger莽ek ki艧ilerin k谋sa hik芒yelerini anlat谋yor ve 7-8 sayfal谋k o hik芒yelerde sizi al谋p acayip diyarlara g枚t眉rmeyi ba艧ar谋yor. Bir s眉r眉 korkun莽 insanla tan谋艧谋p onlar谋 Borges鈥檌n muzip dilinden dinlemek isterseniz buyrunuz. Ben 莽ok sevdim.
February 5, 2017
La infamia es un acto vil, que mancha de manera definitiva la reputaci贸n de un individuo. Hay personajes que han pasado a la historia no por sus actos de hero铆smo o de magnanimidad, sino por su abyecci贸n o por su influencia negativa en los hechos hist贸ricos. En este libro Jorge Luis Borges realiza un compendio de semblanzas y an茅cdotas sobre personajes infames, entre ellos: Billy The Kid (cuatrero), La viuda Ching (Pirata) y Hakim De Merv (Falso Profeta). Estos sujetos son retratados de manera objetiva, sin hacer apolog铆as ni escarnio excesivo.
El 谩nimo de los escritos no es tanto el narrativo sino casi period铆stico, ofreciendo ligeras pinceladas de informaci贸n que nos incitan a investigar mucho m谩s. Los 鈥渁puntes鈥� (llam茅moslos as铆) contenidos en el libro se basan en hechos pasados, a los cuales el autor agrega ciertas dosis de ficci贸n que no alteran en absoluto la valoraci贸n hist贸rica de los personajes. No obstante, siendo Borges un gran maestro del relato corto, podemos considerarlos como cuentos de alta manufactura, bien escritos y perfectamente construidos. Sabemos que el autor prefiri贸 hacer relatos cortos bien documentados y bien revisados, en lugar de enormes escritos de naturaleza diversa en los que pudi茅ramos encontrar aciertos y falencias. El estilo es elegante y sabio, basado en una distante tercera persona (no pod铆a ser de otra manera).
Destacan 鈥淓l tintorero enmascarado Hakim De Merv鈥� (que narra la an茅cdota que degrada a un popular profeta turkmeno en un vulgar merolico) y 鈥淓l impostor inveros铆mil Tom Castro鈥� (que nos habla de un ingenuo y bonach贸n personaje, t铆tere de una estafa perpetrada por otra persona mucho m谩s malvada). Algunas de estas "infamias" remiten a virtudes por encima de las canalladas. Tal es el caso del excelente 鈥淓l incivil maestro de ceremonias鈥� que relata una revuelta ocurrida en el Jap贸n feudal y que ejemplifica el c贸digo de honor de los Samura铆s. Este 煤ltimo podr铆a ser el mejor y m谩s luminoso cuento de todo el libro. A pesar de la presencia del adolescente desalmado Billy The Kid, y del gangster Monk Eastman, quien busque en este libro algo parecido a una novela negra, podr铆a salir decepcionado.
Originalmente la obra constaba de siete relatos, pero con el tiempo, se ha ido agregando material adicional; la edici贸n de Alianza editorial contiene un relato m谩s largo llamado 鈥淓l hombre de la esquina rosada鈥� que trata sobre una pelea entre compadritos (pendencieros bailadores rioplatenses) y cuyo lenguaje arrabalero contrasta fuertemente con el del resto del libro. Tambi茅n se ha agregado el apartado 鈥渆tc茅tera鈥� que consta de seis relatos cuyo estilo m谩s complejo y breve se asemeja m谩s al Borges de sus obras posteriores. De estos 煤ltimos, destaca el desconcertante 鈥淓l espejo de tinta鈥�.
Con 鈥淗istoria universal de la infamia鈥� inicia el periodo cl谩sico de Borges (Un cr铆tico calific贸 este libro como la obra que inicia el realismo m谩gico latinoamericano), puede leerse como introducci贸n al mundo Borgesiano y tambi茅n como un libro de relatos hist贸ricos excelentemente escrito. El 谩nimo hist贸rico y period铆stico, lo coloca a como un libro menos complicado comparado con otras colecciones de relatos del autor (鈥淓l Aleph鈥� y 鈥淔icciones鈥�), pero esto no significa que la lectura sea muy r谩pida, puesto que el lector desear谩 confrontar los innumerables datos y referencias mencionadas. Un relato corto de Borges puede contener m谩s informaci贸n que una novela completa de otros autores.
El 谩nimo de los escritos no es tanto el narrativo sino casi period铆stico, ofreciendo ligeras pinceladas de informaci贸n que nos incitan a investigar mucho m谩s. Los 鈥渁puntes鈥� (llam茅moslos as铆) contenidos en el libro se basan en hechos pasados, a los cuales el autor agrega ciertas dosis de ficci贸n que no alteran en absoluto la valoraci贸n hist贸rica de los personajes. No obstante, siendo Borges un gran maestro del relato corto, podemos considerarlos como cuentos de alta manufactura, bien escritos y perfectamente construidos. Sabemos que el autor prefiri贸 hacer relatos cortos bien documentados y bien revisados, en lugar de enormes escritos de naturaleza diversa en los que pudi茅ramos encontrar aciertos y falencias. El estilo es elegante y sabio, basado en una distante tercera persona (no pod铆a ser de otra manera).
Destacan 鈥淓l tintorero enmascarado Hakim De Merv鈥� (que narra la an茅cdota que degrada a un popular profeta turkmeno en un vulgar merolico) y 鈥淓l impostor inveros铆mil Tom Castro鈥� (que nos habla de un ingenuo y bonach贸n personaje, t铆tere de una estafa perpetrada por otra persona mucho m谩s malvada). Algunas de estas "infamias" remiten a virtudes por encima de las canalladas. Tal es el caso del excelente 鈥淓l incivil maestro de ceremonias鈥� que relata una revuelta ocurrida en el Jap贸n feudal y que ejemplifica el c贸digo de honor de los Samura铆s. Este 煤ltimo podr铆a ser el mejor y m谩s luminoso cuento de todo el libro. A pesar de la presencia del adolescente desalmado Billy The Kid, y del gangster Monk Eastman, quien busque en este libro algo parecido a una novela negra, podr铆a salir decepcionado.
Originalmente la obra constaba de siete relatos, pero con el tiempo, se ha ido agregando material adicional; la edici贸n de Alianza editorial contiene un relato m谩s largo llamado 鈥淓l hombre de la esquina rosada鈥� que trata sobre una pelea entre compadritos (pendencieros bailadores rioplatenses) y cuyo lenguaje arrabalero contrasta fuertemente con el del resto del libro. Tambi茅n se ha agregado el apartado 鈥渆tc茅tera鈥� que consta de seis relatos cuyo estilo m谩s complejo y breve se asemeja m谩s al Borges de sus obras posteriores. De estos 煤ltimos, destaca el desconcertante 鈥淓l espejo de tinta鈥�.
Con 鈥淗istoria universal de la infamia鈥� inicia el periodo cl谩sico de Borges (Un cr铆tico calific贸 este libro como la obra que inicia el realismo m谩gico latinoamericano), puede leerse como introducci贸n al mundo Borgesiano y tambi茅n como un libro de relatos hist贸ricos excelentemente escrito. El 谩nimo hist贸rico y period铆stico, lo coloca a como un libro menos complicado comparado con otras colecciones de relatos del autor (鈥淓l Aleph鈥� y 鈥淔icciones鈥�), pero esto no significa que la lectura sea muy r谩pida, puesto que el lector desear谩 confrontar los innumerables datos y referencias mencionadas. Un relato corto de Borges puede contener m谩s informaci贸n que una novela completa de otros autores.
February 16, 2021
Storia universale dell'infamia, prima opera in prosa narrativa di Borges, apparve in raccolta per la prima volta nel 1935. Borges ebbe a definire questi racconti scritti nel biennio 1933-34, e pubblicati su una rivista settimanale di cui era direttore, dei semplici 鈥渆sercizi di prosa narrativa鈥�, quasi vergognandosi a definirli 鈥渓'irresponsabile gioco di un timido che non ebbe coraggio di scrivere racconti e che per svagarsi falsific貌 e alter貌 storie altrui鈥�.
Ispirato da una miriade di fonti che egli stesso cita, e in alcuni casi inventa, e continuando un esercizio che era stato inaugurato dalle Vite immaginarie di Schwob, Borges raccoglie nella sua prima raccolta di racconti le vite di alcuni personaggi realmente esistiti, cambiandone in alcuni casi il nome e sottolineandone, anche con la finzione letteraria, i comportamenti deplorevoli. Come a Schwob, anche a Borges non interessa essere esaustivo e fedele: per ciascun personaggio seleziona poche scene di vita, le dispone una accanto all'altra con brusca soluzione di continuit脿 e, quasi con taglio cinematografico, ne distilla l'essenza in poche pagine, eliminando l'inutile e il superfluo.
L'opera si pu貌 dividere in tre parti. Nella prima, 鈥淪toria universale dell'infamia鈥� sono inserite sette biografie di personaggi realmente esistiti, macchiatisi d'infamia e a buon diritto rientranti in questa particolare area della Storia: da Lazarus Morell, trafficante di schiavi neri negli Stati Uniti del Sud del diciannovesimo secolo, a l'impostore senza memoria Tom Castro; dalla vedova Ching, pirata che fu il terrore della flotta imperiale cinese, al gangster newyorkese Monk Eastmann; da Billy the Kid, mina vagante del Selvaggio West, al maestro di cerimonie giapponese Kotsuke no Suke, protagonista della famosa storia dei quarantasette ronin; fino a Hakim di Merv, profeta persiano mascherato, tacciato di eresia dall'Islam e perci貌 condannato alla damnatio memoriae.
La seconda parte 猫 un racconto che fa da intermezzo, 鈥淯omo all'angolo della casa rosa鈥�, una storia di passione e di vendetta che Borges scrisse in et脿 giovanile e che, per buona parte della sua carriera, rimaneggi貌 pi霉 volte (dell'intera opera, in tutta onest脿, 猫 l'unico racconto evitabile).
La terza parte, 鈥淓ccetera鈥�, riunisce delle micro-narrazioni oscillanti tra storia e leggenda, tra mito e realt脿, tra sogno e magia. In alcuni casi Borges si 猫 limitato a trascrivere secondo i suoi gusti stilistici questi episodi, attingendo da letterature di altre epoche e regioni. Le principali fonti di ispirazione in questo gruppo di racconti sono le Mille e una notte e alcune opere teosofiche cristiane di Swedenborg. Borges stesso, in questa sezione, si annuncia soltanto come semplice lettore e traduttore di queste storie gi脿 narrate precedentemente (in alcuni casi questa figura 猫 a sua volta un espediente letterario), rivendicando la superiorit脿 della lettura sulla scrittura. Cos矛 afferma Borges nel Prologo alla prima edizione di quest'opera: 鈥渁 volte penso che i buoni lettori siano cigni ancor pi霉 tenebrosi e rari dei buoni autori. Leggere, del resto, 猫 un'attivit脿 successiva a quella di scrivere: pi霉 rassegnata, pi霉 civile, pi霉 intellettuale鈥�.
Nel raccontare la vita di un personaggio esemplare per la propria infamia, Borges trova intorno ad essi una costellazione di altri uomini non certo migliori, come se l'infamia stessa, oltre ai suoi campioni, fosse un po' in tutti noi. Non ci sono personaggi positivi, ma 猫 forse questo a renderli affascinanti.
Il gioco creativo con cui Borges mescola realt脿 e finzione 猫 straordinario. La dimensione onirica, l'atmosfera magica, la narrazione mitica pi霉 che storica saranno i tratti distintivi della prosa di questo scrittore, anche e soprattutto nelle opere successive. La fantasia sfrenata, la potente immaginazione, la vasta cultura, il citazionismo raffinato, la curiosit脿 sconfinata, l'amore per la letteratura e la suggestione di tempi e luoghi lontani e di un'infinit脿 di mondi possibili sono altri aspetti che gi脿 emergono nelle sue opere giovanili, e che continueranno ad essere sviluppati successivamente.
Il primo Borges, il mio primo Borges: indimenticabile. La sua lettura apre la mente, fa viaggiare con la fantasia, d脿 libert脿 all'immaginazione, dispiega l'infinit脿 delle possibilit脿. Si legge in un attimo, rimarr脿 per sempre.
Ispirato da una miriade di fonti che egli stesso cita, e in alcuni casi inventa, e continuando un esercizio che era stato inaugurato dalle Vite immaginarie di Schwob, Borges raccoglie nella sua prima raccolta di racconti le vite di alcuni personaggi realmente esistiti, cambiandone in alcuni casi il nome e sottolineandone, anche con la finzione letteraria, i comportamenti deplorevoli. Come a Schwob, anche a Borges non interessa essere esaustivo e fedele: per ciascun personaggio seleziona poche scene di vita, le dispone una accanto all'altra con brusca soluzione di continuit脿 e, quasi con taglio cinematografico, ne distilla l'essenza in poche pagine, eliminando l'inutile e il superfluo.
L'opera si pu貌 dividere in tre parti. Nella prima, 鈥淪toria universale dell'infamia鈥� sono inserite sette biografie di personaggi realmente esistiti, macchiatisi d'infamia e a buon diritto rientranti in questa particolare area della Storia: da Lazarus Morell, trafficante di schiavi neri negli Stati Uniti del Sud del diciannovesimo secolo, a l'impostore senza memoria Tom Castro; dalla vedova Ching, pirata che fu il terrore della flotta imperiale cinese, al gangster newyorkese Monk Eastmann; da Billy the Kid, mina vagante del Selvaggio West, al maestro di cerimonie giapponese Kotsuke no Suke, protagonista della famosa storia dei quarantasette ronin; fino a Hakim di Merv, profeta persiano mascherato, tacciato di eresia dall'Islam e perci貌 condannato alla damnatio memoriae.
La seconda parte 猫 un racconto che fa da intermezzo, 鈥淯omo all'angolo della casa rosa鈥�, una storia di passione e di vendetta che Borges scrisse in et脿 giovanile e che, per buona parte della sua carriera, rimaneggi貌 pi霉 volte (dell'intera opera, in tutta onest脿, 猫 l'unico racconto evitabile).
La terza parte, 鈥淓ccetera鈥�, riunisce delle micro-narrazioni oscillanti tra storia e leggenda, tra mito e realt脿, tra sogno e magia. In alcuni casi Borges si 猫 limitato a trascrivere secondo i suoi gusti stilistici questi episodi, attingendo da letterature di altre epoche e regioni. Le principali fonti di ispirazione in questo gruppo di racconti sono le Mille e una notte e alcune opere teosofiche cristiane di Swedenborg. Borges stesso, in questa sezione, si annuncia soltanto come semplice lettore e traduttore di queste storie gi脿 narrate precedentemente (in alcuni casi questa figura 猫 a sua volta un espediente letterario), rivendicando la superiorit脿 della lettura sulla scrittura. Cos矛 afferma Borges nel Prologo alla prima edizione di quest'opera: 鈥渁 volte penso che i buoni lettori siano cigni ancor pi霉 tenebrosi e rari dei buoni autori. Leggere, del resto, 猫 un'attivit脿 successiva a quella di scrivere: pi霉 rassegnata, pi霉 civile, pi霉 intellettuale鈥�.
Nel raccontare la vita di un personaggio esemplare per la propria infamia, Borges trova intorno ad essi una costellazione di altri uomini non certo migliori, come se l'infamia stessa, oltre ai suoi campioni, fosse un po' in tutti noi. Non ci sono personaggi positivi, ma 猫 forse questo a renderli affascinanti.
Il gioco creativo con cui Borges mescola realt脿 e finzione 猫 straordinario. La dimensione onirica, l'atmosfera magica, la narrazione mitica pi霉 che storica saranno i tratti distintivi della prosa di questo scrittore, anche e soprattutto nelle opere successive. La fantasia sfrenata, la potente immaginazione, la vasta cultura, il citazionismo raffinato, la curiosit脿 sconfinata, l'amore per la letteratura e la suggestione di tempi e luoghi lontani e di un'infinit脿 di mondi possibili sono altri aspetti che gi脿 emergono nelle sue opere giovanili, e che continueranno ad essere sviluppati successivamente.
Il primo Borges, il mio primo Borges: indimenticabile. La sua lettura apre la mente, fa viaggiare con la fantasia, d脿 libert脿 all'immaginazione, dispiega l'infinit脿 delle possibilit脿. Si legge in un attimo, rimarr脿 per sempre.
February 4, 2016
Talvez pelo fasc铆nio que o Velho Oeste sempre exerceu sobre mim, o relato que mais me marcou destas universais e infamantes hist贸rias de Borges, tenha sido "O assassino desinteressado Bill Harrigan", breve narra莽茫o da atribulada e breve vida de Billy the Kid, morto aos 21 anos pelo Xerife Pat Garrett, acusado de 21 mortes "sem contar os mexicanos".
May 8, 2018
My only problem with this book was that it was too short. :) This is the sort of book that makes you want to make further explorations. Widow Ching the Pirate is probably my next stop somewhere over there between my historical reads.
August 21, 2019
賳爻禺賴鈥屫й� 讴賴 賲賳 禺賵丕賳丿賲 鬲乇噩賲賴 丕蹖 亘賵丿 丕夭 亘乇诏乇丿丕賳 丕賳诏賱蹖爻蹖 賴賲蹖賳 讴鬲丕亘 亘賴 賯賱賲 丕賳丿乇賵 賴丕乇賱蹖 讴賴 賲毓乇賵賮 鬲乇蹖賳 亘乇诏乇丿丕賳 丕賳诏賱蹖爻蹖 丕蹖賳 丕孬乇 丕爻鬲 丕賲丕 賲鬲丕爻賮丕賳賴 禺丕賳賲 爻賴蹖賱丕 賲丕賴乇賳蹖丕 賳鬲賵丕賳爻鬲賴 亘賵丿 鬲乇噩賲賴 蹖 禺賵亘蹖 丕乇丕卅賴 丿賴丿 賵 亘賴 賳馗乇 賲蹖乇爻蹖丿 讴賴 丕蹖賳 毓丿賲 鬲乇噩賲賴 蹖 賲爻鬲賯蹖賲 丕夭 丕爻倬丕賳蹖賵賱蹖貙 亘丕毓孬 賮丕氐賱賴 蹖 亘蹖卮 丕夭 丨丿 賲鬲賳 賮丕乇爻蹖 丕夭 賯賱賲 亘賵乇禺爻 卮丿賴 丕爻鬲.
賴賲趩賳蹖賳 丿乇 賳爻禺賴 蹖 禺丕賳賲 賲丕賴乇賳蹖丕 鄹 丿丕爻鬲丕賳 丕蹖賳 賲噩賲賵毓賴 亘賴 丿賱丕蹖賱 賳趩賳丿丕賳 賲賵噩賴蹖 丨匕賮 卮丿賴 丕賳丿 丕賲丕 鄱 丿丕爻鬲丕賳 亘丕賯蹖 賲丕賳丿賴 丌賳賯丿乇 禺賵亘 賴爻鬲賳丿 讴賴 禺賵丕賳賳丿賴 乇丕 亘賴 爻胤丨 賲毓賯賵賱蹖 丕夭 賱匕鬲 亘乇爻丕賳賳丿. 亘賴 胤亘毓貙 丿丕爻鬲丕賳 丕賱賲賯賳毓(毓賳賵丕賳 丿丕爻鬲丕賳: 丨讴蹖賲 乇賳诏鈥屫必藏� 賳賯丕亘鈥屫ж� 賲乇賵蹖) 噩匕丕亘蹖鬲 賴丕蹖 乇賵丕蹖蹖 夭蹖丕丿蹖 亘乇丕蹖 賲丕 丕蹖乇丕賳蹖丕賳 禺賵丕賴丿 丿丕卮鬲 賵 鬲爻賱胤 亘賵乇禺爻 乇丕 亘乇 鬲丕乇蹖禺 賵 丕爻丕胤蹖乇 卮乇賯蹖 賳卮丕賳 賲蹖丿賴丿(賲胤丕亘賯 爻賳鬲 亘賵乇禺爻 丕蹖賳 丿丕爻鬲丕賳 夭蹖丕丿 賲賳胤亘賯 亘乇 賵丕賯毓蹖鬲 賳蹖爻鬲 賵 賱丕丕賯賱 倬丕蹖丕賳 亘賳丿蹖 丌賳 亘丕 趩蹖夭蹖 讴賴 丕夭 鬲丕乇蹖禺 丿爻鬲诏蹖乇賲丕賳 賲蹖卮賵丿 亘爻蹖丕乇 賲鬲賮丕賵鬲 丕爻鬲)
賮囟丕蹖 睾丕賱亘 丕蹖賳 丿丕爻鬲丕賳 賴丕 禺卮賵賳鬲 賵 丿毓賵丕爻鬲 讴賴 丨賵賱 卮禺氐蹖鬲 賴丕蹖 卮丕乇賱丕鬲丕賳 賵 禺賵賳鈥屫臂屫� 丌賳 卮讴賱 賲蹖诏蹖乇丿 丕賲丕 丕蹖賳 賮囟丕蹖 禺卮賳 丿乇 賱丨賳蹖 胤賳夭 賵 馗乇蹖賮 倬蹖趩蹖丿賴 卮丿賴 亘賴 诏賵賳賴 丕蹖 讴賴 亘蹖卮鬲乇 亘乇 丨賲丕賯鬲 趩賳蹖賳 丕毓賲丕賱蹖 胤毓賳賴 賲蹖 夭賳丿. 亘丕 丕蹖賳讴賴 賴賲賴 蹖 丿丕爻鬲丕賳 賴丕 鬲賲蹖 卮丕毓乇丕賳賴 丿丕乇賳丿 丕賲丕 丕夭 丌賳 賵賴賲 賵 倬蹖趩蹖丿诏蹖 賴丕蹖蹖 讴賴 丕夭 亘賵乇禺爻 丕賳鬲馗丕乇 賲蹖乇賴 丿乇 丕蹖賳噩丕 禺亘乇蹖 賳蹖爻鬲. 丕賱亘鬲賴 亘丕 丕蹖賳 鬲賵噩蹖賴 讴賴 丕蹖賳 丿丕爻鬲丕賳 賴丕 丿乇 丕亘鬲丿丕 亘乇丕蹖 丕賳鬲卮丕乇 丿乇 囟賲蹖賲賴 蹖 蹖讴 乇賵夭賳丕賲賴 蹖 夭乇丿 丌乇跇丕賳鬲蹖賳蹖 賳賵卮鬲賴 卮丿賴 亘賵丿賳丿貙 賴賲賴 趩蹖夭 丿乇 賲賵乇丿 爻亘讴 賵 爻蹖丕賯 賳賵卮鬲丕乇 亘賵乇禺爻 賲賳胤賯蹖 亘賴 賳馗乇 賲蹖乇爻丿
丿丕爻鬲丕賳赖丕:
賱丕夭丕乇賵爻 賲賵乇賱貙 賳丕噩蹖 亘蹖 乇丨賲: 賲賵乇賱 爻賮蹖丿倬賵爻鬲蹖 讴賴 爻蹖丕賴丕賳 乇丕 诏賵賱 賲蹖 夭丿 賵 丕夭 丌賳 賴丕 爻賵亍 丕爻鬲賮丕丿賴 賲蹖 讴乇丿
丕賲鬲蹖丕夭: 鄞 爻鬲丕乇賴
亘蹖賵賴 卮蹖賳诏貙 丿夭丿 丿乇蹖丕蹖蹖: 卮蹖賳诏 丿夭丿 丿乇蹖丕蹖蹖 亘蹖 乇丨賲蹖 丕爻鬲 讴賴 賴賲爻乇卮 噩丕蹖诏夭蹖賳 丕賵 賲蹖 卮賵丿
丕賲鬲蹖丕夭: 鄄 爻鬲丕乇賴
丕蹖爻鬲賲賳 亘賵夭蹖賳賴貙 丿賱丕賱 賲馗賱賲賴: 丿乇 賲賵乇丿 蹖讴蹖 丕夭 丕卮乇丕乇 賳蹖賵蹖賵乇讴 讴賴 丿乇 丨賯蹖賯鬲 丕夭 讴鬲丕亘 丿丕乇 賵 丿爻鬲賴 賴丕蹖 賳蹖賵蹖賵乇讴 賵丕賲 诏乇賮鬲賴 卮丿賴 丕爻鬲
丕賲鬲蹖丕夭: 鄄 爻鬲丕乇賴
亘蹖賱 賴丕乇蹖诏丕賳貙 賯丕鬲賱 亘蹖 丕毓鬲賳丕: 倬爻乇 亘趩賴 丕蹖 讴賴 亘賴 丿夭丿蹖 賲卮賴賵乇 丿乇 鬲诏夭丕爻 鬲亘丿蹖賱 賲蹖 卮賵丿
丕賲鬲蹖丕夭: 鄢 爻鬲丕乇賴
賲毓賱賲 亘蹖 丕丿亘 丌丿丕亘 丿乇亘丕乇蹖貙 讴賵鬲爻賵讴賴 賳賵 爻賵讴賴: 丿乇 賲賵乇丿 賴丕乇丕诏蹖乇蹖 賵 賵賮丕丿丕乇蹖 丿乇 跇丕倬賳. 乇卅蹖爻蹖 讴賴 讴卮鬲賴 賲蹖 卮賵丿 賵 丕賮乇丕丿蹖 讴賴 丕賳鬲賯丕賲 丕賵 乇丕 诏乇賮鬲賴 賵 爻倬爻 賴丕乇丕诏蹖乇蹖 賲蹖 讴賳賳丿
丕賲鬲蹖丕夭: 鄞 爻鬲丕乇賴
丨讴蹖賲貙 乇賳诏乇夭 賳賯丕亘 丿丕乇 賲乇賵蹖: 丿乇 賲賵乇丿 丕賱賲賯賳毓 倬蹖丕賲亘乇 丿乇賵睾蹖賳 賳賯丕亘 丿丕乇 丕蹖乇丕賳蹖
丕賲鬲蹖丕夭: 鄣 爻鬲丕乇賴
賴賲趩賳蹖賳 丿乇 賳爻禺賴 蹖 禺丕賳賲 賲丕賴乇賳蹖丕 鄹 丿丕爻鬲丕賳 丕蹖賳 賲噩賲賵毓賴 亘賴 丿賱丕蹖賱 賳趩賳丿丕賳 賲賵噩賴蹖 丨匕賮 卮丿賴 丕賳丿 丕賲丕 鄱 丿丕爻鬲丕賳 亘丕賯蹖 賲丕賳丿賴 丌賳賯丿乇 禺賵亘 賴爻鬲賳丿 讴賴 禺賵丕賳賳丿賴 乇丕 亘賴 爻胤丨 賲毓賯賵賱蹖 丕夭 賱匕鬲 亘乇爻丕賳賳丿. 亘賴 胤亘毓貙 丿丕爻鬲丕賳 丕賱賲賯賳毓(毓賳賵丕賳 丿丕爻鬲丕賳: 丨讴蹖賲 乇賳诏鈥屫必藏� 賳賯丕亘鈥屫ж� 賲乇賵蹖) 噩匕丕亘蹖鬲 賴丕蹖 乇賵丕蹖蹖 夭蹖丕丿蹖 亘乇丕蹖 賲丕 丕蹖乇丕賳蹖丕賳 禺賵丕賴丿 丿丕卮鬲 賵 鬲爻賱胤 亘賵乇禺爻 乇丕 亘乇 鬲丕乇蹖禺 賵 丕爻丕胤蹖乇 卮乇賯蹖 賳卮丕賳 賲蹖丿賴丿(賲胤丕亘賯 爻賳鬲 亘賵乇禺爻 丕蹖賳 丿丕爻鬲丕賳 夭蹖丕丿 賲賳胤亘賯 亘乇 賵丕賯毓蹖鬲 賳蹖爻鬲 賵 賱丕丕賯賱 倬丕蹖丕賳 亘賳丿蹖 丌賳 亘丕 趩蹖夭蹖 讴賴 丕夭 鬲丕乇蹖禺 丿爻鬲诏蹖乇賲丕賳 賲蹖卮賵丿 亘爻蹖丕乇 賲鬲賮丕賵鬲 丕爻鬲)
賮囟丕蹖 睾丕賱亘 丕蹖賳 丿丕爻鬲丕賳 賴丕 禺卮賵賳鬲 賵 丿毓賵丕爻鬲 讴賴 丨賵賱 卮禺氐蹖鬲 賴丕蹖 卮丕乇賱丕鬲丕賳 賵 禺賵賳鈥屫臂屫� 丌賳 卮讴賱 賲蹖诏蹖乇丿 丕賲丕 丕蹖賳 賮囟丕蹖 禺卮賳 丿乇 賱丨賳蹖 胤賳夭 賵 馗乇蹖賮 倬蹖趩蹖丿賴 卮丿賴 亘賴 诏賵賳賴 丕蹖 讴賴 亘蹖卮鬲乇 亘乇 丨賲丕賯鬲 趩賳蹖賳 丕毓賲丕賱蹖 胤毓賳賴 賲蹖 夭賳丿. 亘丕 丕蹖賳讴賴 賴賲賴 蹖 丿丕爻鬲丕賳 賴丕 鬲賲蹖 卮丕毓乇丕賳賴 丿丕乇賳丿 丕賲丕 丕夭 丌賳 賵賴賲 賵 倬蹖趩蹖丿诏蹖 賴丕蹖蹖 讴賴 丕夭 亘賵乇禺爻 丕賳鬲馗丕乇 賲蹖乇賴 丿乇 丕蹖賳噩丕 禺亘乇蹖 賳蹖爻鬲. 丕賱亘鬲賴 亘丕 丕蹖賳 鬲賵噩蹖賴 讴賴 丕蹖賳 丿丕爻鬲丕賳 賴丕 丿乇 丕亘鬲丿丕 亘乇丕蹖 丕賳鬲卮丕乇 丿乇 囟賲蹖賲賴 蹖 蹖讴 乇賵夭賳丕賲賴 蹖 夭乇丿 丌乇跇丕賳鬲蹖賳蹖 賳賵卮鬲賴 卮丿賴 亘賵丿賳丿貙 賴賲賴 趩蹖夭 丿乇 賲賵乇丿 爻亘讴 賵 爻蹖丕賯 賳賵卮鬲丕乇 亘賵乇禺爻 賲賳胤賯蹖 亘賴 賳馗乇 賲蹖乇爻丿
丿丕爻鬲丕賳赖丕:
賱丕夭丕乇賵爻 賲賵乇賱貙 賳丕噩蹖 亘蹖 乇丨賲: 賲賵乇賱 爻賮蹖丿倬賵爻鬲蹖 讴賴 爻蹖丕賴丕賳 乇丕 诏賵賱 賲蹖 夭丿 賵 丕夭 丌賳 賴丕 爻賵亍 丕爻鬲賮丕丿賴 賲蹖 讴乇丿
丕賲鬲蹖丕夭: 鄞 爻鬲丕乇賴
亘蹖賵賴 卮蹖賳诏貙 丿夭丿 丿乇蹖丕蹖蹖: 卮蹖賳诏 丿夭丿 丿乇蹖丕蹖蹖 亘蹖 乇丨賲蹖 丕爻鬲 讴賴 賴賲爻乇卮 噩丕蹖诏夭蹖賳 丕賵 賲蹖 卮賵丿
丕賲鬲蹖丕夭: 鄄 爻鬲丕乇賴
丕蹖爻鬲賲賳 亘賵夭蹖賳賴貙 丿賱丕賱 賲馗賱賲賴: 丿乇 賲賵乇丿 蹖讴蹖 丕夭 丕卮乇丕乇 賳蹖賵蹖賵乇讴 讴賴 丿乇 丨賯蹖賯鬲 丕夭 讴鬲丕亘 丿丕乇 賵 丿爻鬲賴 賴丕蹖 賳蹖賵蹖賵乇讴 賵丕賲 诏乇賮鬲賴 卮丿賴 丕爻鬲
丕賲鬲蹖丕夭: 鄄 爻鬲丕乇賴
亘蹖賱 賴丕乇蹖诏丕賳貙 賯丕鬲賱 亘蹖 丕毓鬲賳丕: 倬爻乇 亘趩賴 丕蹖 讴賴 亘賴 丿夭丿蹖 賲卮賴賵乇 丿乇 鬲诏夭丕爻 鬲亘丿蹖賱 賲蹖 卮賵丿
丕賲鬲蹖丕夭: 鄢 爻鬲丕乇賴
賲毓賱賲 亘蹖 丕丿亘 丌丿丕亘 丿乇亘丕乇蹖貙 讴賵鬲爻賵讴賴 賳賵 爻賵讴賴: 丿乇 賲賵乇丿 賴丕乇丕诏蹖乇蹖 賵 賵賮丕丿丕乇蹖 丿乇 跇丕倬賳. 乇卅蹖爻蹖 讴賴 讴卮鬲賴 賲蹖 卮賵丿 賵 丕賮乇丕丿蹖 讴賴 丕賳鬲賯丕賲 丕賵 乇丕 诏乇賮鬲賴 賵 爻倬爻 賴丕乇丕诏蹖乇蹖 賲蹖 讴賳賳丿
丕賲鬲蹖丕夭: 鄞 爻鬲丕乇賴
丨讴蹖賲貙 乇賳诏乇夭 賳賯丕亘 丿丕乇 賲乇賵蹖: 丿乇 賲賵乇丿 丕賱賲賯賳毓 倬蹖丕賲亘乇 丿乇賵睾蹖賳 賳賯丕亘 丿丕乇 丕蹖乇丕賳蹖
丕賲鬲蹖丕夭: 鄣 爻鬲丕乇賴
August 14, 2018
Hay palabras que necesitan de mas palabras para ser definidas, y la infamia es una de esas.
Borges en este libro de Ficci贸n presenta cuentos creados con personajes biogr谩ficos. La voz del narrador en tercera persona llamo mi atenci贸n, cuando durante la lectura te encuentras con la primera persona y durante la narraci贸n tambi茅n lees 麓Borges麓 no es exactamente un personaje, sin embargo no se confunde con el narrador de la historia, al usar voz narrativa en tercera persona. La voz narrativa de este libro de ficci贸n, es lo que m谩s destaco, cabe mencionar que el uso de la tercera persona es escaso. En el camino, el autor brinda informaci贸n que va desde lo particular hacia lo general, la narrativa ve de adentro para fuera de la historia. Borges hace uso de met谩foras como la que le asigna como t铆tulo a un capitulo: El simulador de la infamia. Ficci贸n bajo el mando de la apoteosis. T铆tulos que entrelazan el cap铆tulo con el sub capitulo y con la trama general del libro. Apoderar, derrotar, liderar algunas de las virtudes de los personajes de los cuentos de Borges en esta historia. Conexiones con exiguo dicci贸n, poseen una profundidad de desarrollo y comprensi贸n de la historia, disimiles incidentes y contingencias presencian los personajes, miedo, esperanza, misericordia derrota en la vida mendiga. La Magia y el brujo. El envenenador de caballos, apoderamiento de fortalezas y derrotas de los l铆deres que despu茅s terminaron no si茅ndolo tanto. Reino. Mohamed. Las conexiones que crea Borges con el lector y sus personajes son sublime.
Hay quienes mencionan que para leer a Borges se necesita madurez literaria, tal vez por el lenguaje o el uso de constantes met谩foras lo dificulte. Un poco paciencia y desde este libro de ficci贸n podr谩s entrar en mundo de Borges, como buena alternativa de inicio de lectura de este autor.
Lo interesante de compartir contenido por ac谩 es conocer las m煤ltiples perspectivas de las diferentes lecturas. Comenta si ya te la le铆ste.
Borges en este libro de Ficci贸n presenta cuentos creados con personajes biogr谩ficos. La voz del narrador en tercera persona llamo mi atenci贸n, cuando durante la lectura te encuentras con la primera persona y durante la narraci贸n tambi茅n lees 麓Borges麓 no es exactamente un personaje, sin embargo no se confunde con el narrador de la historia, al usar voz narrativa en tercera persona. La voz narrativa de este libro de ficci贸n, es lo que m谩s destaco, cabe mencionar que el uso de la tercera persona es escaso. En el camino, el autor brinda informaci贸n que va desde lo particular hacia lo general, la narrativa ve de adentro para fuera de la historia. Borges hace uso de met谩foras como la que le asigna como t铆tulo a un capitulo: El simulador de la infamia. Ficci贸n bajo el mando de la apoteosis. T铆tulos que entrelazan el cap铆tulo con el sub capitulo y con la trama general del libro. Apoderar, derrotar, liderar algunas de las virtudes de los personajes de los cuentos de Borges en esta historia. Conexiones con exiguo dicci贸n, poseen una profundidad de desarrollo y comprensi贸n de la historia, disimiles incidentes y contingencias presencian los personajes, miedo, esperanza, misericordia derrota en la vida mendiga. La Magia y el brujo. El envenenador de caballos, apoderamiento de fortalezas y derrotas de los l铆deres que despu茅s terminaron no si茅ndolo tanto. Reino. Mohamed. Las conexiones que crea Borges con el lector y sus personajes son sublime.
Hay quienes mencionan que para leer a Borges se necesita madurez literaria, tal vez por el lenguaje o el uso de constantes met谩foras lo dificulte. Un poco paciencia y desde este libro de ficci贸n podr谩s entrar en mundo de Borges, como buena alternativa de inicio de lectura de este autor.
Lo interesante de compartir contenido por ac谩 es conocer las m煤ltiples perspectivas de las diferentes lecturas. Comenta si ya te la le铆ste.
January 13, 2025
Excelente libro de un Borges a煤n joven y tendiente (por momentos) al barroquismo. Las historias que componen la obra son todas (como nos advierte el t铆tulo) de personajes infames del mundo, que enga帽an, roban, corrompen, que suelen ser violentos e imp铆os asesinos; y que, en general, concluyen de mala manera, o al menos pierden todo halo de grandeza.
La escritura (superando lo dicho: en espec铆fico, que suele ser un poco recargada de sustantivos) es clara, precisa y virtuosa. Nada nuevo para alguien que se ha encontrado alguna vez con la prosa de Borges. Su siempre admirable uso de los adjetivos est谩 presente.
En fin, muy equilibrado volumen de relatos, disfrutables de principio a fin.
La escritura (superando lo dicho: en espec铆fico, que suele ser un poco recargada de sustantivos) es clara, precisa y virtuosa. Nada nuevo para alguien que se ha encontrado alguna vez con la prosa de Borges. Su siempre admirable uso de los adjetivos est谩 presente.
En fin, muy equilibrado volumen de relatos, disfrutables de principio a fin.
May 13, 2021
El destino (tal es el nombre que aplicamos a la infinita operaci贸n incesante de millares de causas entreveradas)
Comenzando la aventura por los Cuentos completos de Borges se encuentra este primer libro. En donde nos topamos con seis biograf铆as, una historia de ficci贸n y un agregado llamado 贰迟肠茅迟别谤补 que se encuentra en las ediciones m谩s actuales, y donde se compilan seis historias cortas.
Las biograf铆as me parecieron interesantes, no todas me agradaron, ya que el estilo de Borges es un poco denso para m铆. Sent铆 que no hab铆a un orden establecido, y en ocasiones me perd铆a en la historia.
Destaco: El impostor inveros铆mil Tom Castro, La viuda Ching, pirata y El proveedor de iniquidades Monk Eastman.
El hombre de la esquina rosada me agrad贸, pero, el uso de la jerga argentina me desviaba un poco de la historia. Ya que el personaje parec铆a de origen rural, y al ser la historia narrada por 茅l, nos encontr谩bamos con palabras como ju茅, naides, entre otras. Y me fue dif铆cil seguir el ritmo de la narraci贸n.
Las historias de 贰迟肠茅迟别谤补 son m谩s fluidas y fueron las que m谩s disfrut茅.
Destaco: Un te贸logo en la muerte, La c谩mara de las estatuas e Historia de los dos que so帽aron.
Quiz谩s con el tiempo me acostumbre m谩s al estilo de Borges, pero por ahora seguiremos con los dem谩s cuentos, que espero que sean de mi agrado.
"Su modestia y su anhelo de agradar eran tan duraderos que muchas noches comenz贸 por defensa y acab贸 por confesi贸n, siempre al servicio de las inclinaciones del p煤blico."
Comenzando la aventura por los Cuentos completos de Borges se encuentra este primer libro. En donde nos topamos con seis biograf铆as, una historia de ficci贸n y un agregado llamado 贰迟肠茅迟别谤补 que se encuentra en las ediciones m谩s actuales, y donde se compilan seis historias cortas.
Las biograf铆as me parecieron interesantes, no todas me agradaron, ya que el estilo de Borges es un poco denso para m铆. Sent铆 que no hab铆a un orden establecido, y en ocasiones me perd铆a en la historia.
Destaco: El impostor inveros铆mil Tom Castro, La viuda Ching, pirata y El proveedor de iniquidades Monk Eastman.
El hombre de la esquina rosada me agrad贸, pero, el uso de la jerga argentina me desviaba un poco de la historia. Ya que el personaje parec铆a de origen rural, y al ser la historia narrada por 茅l, nos encontr谩bamos con palabras como ju茅, naides, entre otras. Y me fue dif铆cil seguir el ritmo de la narraci贸n.
Las historias de 贰迟肠茅迟别谤补 son m谩s fluidas y fueron las que m谩s disfrut茅.
Destaco: Un te贸logo en la muerte, La c谩mara de las estatuas e Historia de los dos que so帽aron.
Quiz谩s con el tiempo me acostumbre m谩s al estilo de Borges, pero por ahora seguiremos con los dem谩s cuentos, que espero que sean de mi agrado.
"Su modestia y su anhelo de agradar eran tan duraderos que muchas noches comenz贸 por defensa y acab贸 por confesi贸n, siempre al servicio de las inclinaciones del p煤blico."
December 31, 2015
唳忇 唳唳熰唳� 唳唳傕Σ唳� 唳多唳班唳ㄠ唳� 唳曕Π唳� 唳唳む 唳唳班 "唳曕唳栢唳唳む唳� 唳膏唳班唳唳ㄠ唳� 唳囙Δ唳苦唳距Ω"啷� 唳曕唳� 唳曕唳� 唳唳︵唳о唳� 唳Δ唰� 唳唳班唳灌唳膏唳� 唳むΠ唰佮Γ 唳Ο唳监Ω唰� 唳侧唳栢 唳忇 唳唳熰唳� 唳唳о唳Ξ唰囙 唳侧唳唳熰唳� 唳嗋Ξ唰囙Π唳苦唳距Θ 唳唳唳溹唳� 唳班唳唳距Σ唳苦唳� 唳 唳唳︵-唳唳膏唳むΜ唳む唳� 唳Ζ唳唳む唳班 唳多唳班啷� 唳むΜ唰� 唳忇唳� 唳膏唳栢唳唳侧唰� 唳Δ唳距Ξ唳むイ 唳唳︵-唳唳膏唳むΜ唳む唳� 唳曕唳侧唳膏唳� 唳夃Κ唳距Ζ唳距Θ 唳Σ唳む 唳嗋Ξ唳班 唳 唳曕唳涏 唳唳澿, 唳む 唳忇唳距Θ唰� 唳唳熰唳� 唳夃Κ唳� 唳呧Θ唰佮Κ唳膏唳ム唳むイ 唳忇唳� 唳Π唰嵿Ο唳ㄠ唳� 唳唳︵-唳唳膏唳むΜ唳む唳� 唳唳む唳む唳� 唳曕唳夃Μ唳距Π 唳斷Κ唳ㄠ唳唳膏唳� 唳嗋Σ唰囙唰� 唳曕唳班唳唳ㄠ唳む唳唰囙Π-唳忇Π 唳樴唳∴唰囙 唳Π唰嵿Δ唳距Ο唳�, 唳忇Μ唳� "唳曕唳栢唳唳む" 唳Α唳监唳� 唳Π唰� 唳膏唳� 唳Δ唳距Ξ唳� 唳灌唳� 唳曕Π唰� 唳Ζ唳侧 唳唳侧唳� 唳曕唳� 唳膏唰嵿唳� 唳曕唳班Γ 唳栢唳佮唰� 唳唳侧唳� 唳ㄠ啷�
唳むΜ唰� 唳灌唳唳�, 唳唳傕Χ 唳多Δ唳距Μ唰嵿Ζ唰€唳� 唳膏唳灌唳む唳 唳Ο唳监唳曕Π 唳唳班Ν唳距Μ唳多唳侧 唳唳班唳灌唳膏唳� 唳唳熰-唳唳曕Χ唳� 唳忇唳距Θ 唳ム唳曕唳� 唳多唳班啷� 唳唳班唳距Χ唳曕唳� 唳唳粪唳 - "As Borges conceived it, A Universal History was to be no more than light entertainment. Yet after the book appeared in 1935, its influence on the fiction of Latin America was so profound that its publication date has become a landmark in the history of Latin American literature."
唳溹唳ㄠ 唳唳 唳 唳唳班唳灌唳� 唳ㄠ唳溹唳� 唳忇 唳 唳ㄠ唳唰� 唳曕唳涏唳熰 唳膏唳曕唳氞 唳唳椸Δ唰囙Θ啷� 唳唳唳曕唳 唳む唳ㄠ 唳Σ唳涏唳� - "Behind the sound and fury there is nothing. The book is no more than appearance, than a surface of images; for that very reason, it may prove enjoyable. Its author was a somewhat unhappy man, but he amused himself writing it; may some echo of that pleasure reach the reader."
唳忇唳� 唳曕 唳多唳о唳� 唳唳班唳灌唳膏唳� 唳唳ㄠΟ唳�? 唳ㄠ唳曕 唳む唳� 唳唳唰囙Π 唳唳班Ν唳距Μ 唳膏Ξ唰嵿Κ唳班唳曕 唳曕唳涏唳熰 唳灌Σ唰囙 唳撪Ο唳监唳曕唳唳距Σ 唳涏唳侧唳� 唳む唳ㄠ? 唳唳� 唳澿唳ㄠ 唳侧唳� 唳涏唳侧唳� 唳呧Θ唰嵿Η 唳唳∴唰�, 唳む唳� 唳む唳� 唳唳ㄠΟ唳监唰� 唳栢唳� 唳唳多 唳膏唳班唳唳距Ω唳侧 唳ㄠ 唳ㄠ唳唳距 唳唳� 唳灌Ο唳� 唳膏Ξ唰€唳氞唳ㄠイ
*
唳む 唳曕 唳嗋唰� 唳唳唰�? 唳囙Δ唳苦唳距Ω唰囙Π 唳唳む 唳ム唳曕 唳唳� 唳膏唳む唳� 唳椸Σ唰嵿Κ 唳涏唳佮唰� 唳忇Θ唰囙唰囙Θ 唳侧唳栢 - 唳膏Μ 唳曕唳苦 唳曕唳� 唳︵唳多唳氞Π唳苦Δ唰嵿Π 唳唳唰嵿Δ唳�, 唳 唳曕唳� 唳曕Σ唳傕唳溹Θ唳� 唳呧Η唰嵿Ο唳距Ο唳监唳� 唳Ο唳监唳ㄠイ 唳椸Σ唰嵿Κ唳椸唳侧 唳栢唳� 唳唳多 唳侧Ξ唰嵿Μ唳� 唳ㄠΟ唳� - 唳唳班Δ唳苦唳� 唳︵Χ 唳唳む唳� 唳Δ, 唳 唳む唳班 唳曕Ξ啷� 唳唳粪Ο唳监Μ唳膏唳む唳� 唳唳氞唳む唳班唳� 唳侧唰嵿Ψ唳｀唳 - 唳曕唳夃Μ唳 唳椸唳ㄠ唳∴ 唳唳侧 唳︵唳� 唳曕唳� 唳唳Θ 唳嗋唰�, 唳む唳Θ唳� 唳嗋唰� 唳氞唳ㄠ唳� 唳唳栢唳唳� 唳唳苦Σ唳� 唳溹Σ唳︵Ω唰嵿Ο唰� 唳氞唳� 唳多唳灌イ 唳嗋唰� 唳唳撪Ο唳监唳� 唳膏Θ唰嵿Θ唰嵿Ο唳距Ω唰€唳� 唳Δ 唳忇唳熰 唳氞Π唳苦Δ唰嵿Π - 唰оН唳� 唳多Δ唳曕唳� 唳忇 唳о唳唳唳唳溹唳� 唳ㄠ唳� 唳涏唳� 唳熰Ξ 唳曕唳唳膏唳熰唳班啷� 唳溹唳唳� 唳ム唳曕 唳む唳侧 唳忇Θ唰囙唰囙Θ "唰Л 唳班唳ㄠ唳�"-唳忇Π 唳唳膏唳Ο唳监唳� 唳膏Δ唰嵿Ο唳� 唳樴唳ㄠ唳熰啷� 唳多唳� 唳椸Σ唰嵿Κ唳熰唳� 唳ㄠ唳唳� 唳嗋Σ-唳唳曕唳ㄠ唳ㄠ - 唳忇Π 唳ㄠ唳� 唳嗋唰� 唳多唳ㄠ唳ㄠ 唳むΜ唰� 唳Η唰嵿Ο-唳忇Χ唳苦Ο唳监唳 唳嗋Μ唰嵿Μ唳距Ω唰€唳 唳栢唳侧唳Δ 唳曕Π唰嵿Δ唰冟 唳囙Ω唳侧唳唳� 唳唳班Ω唳距Π 唳班唳栢Δ唰� 唳氞唳唰囙唳苦Σ唰囙Θ 唳嗋Σ-唳唳曕唳ㄠ唳ㄠ, 唳оΜ唳оΜ唰� 唳膏唳︵ 唳曕唳Α唳监 唳唳� 唳⑧唳曕 唳ㄠ唳溹唳曕唳� 唳樴唳粪Θ唳� 唳曕Π唰囙唳苦Σ唰囙Θ 唳堗Χ唰嵿Μ唳班イ
唰оН唰┼З-唰┼И 唳膏唳侧 唳唳唰囙Θ唰嬥Ω 唳嗋唳班唳膏唳� 唳忇 唳︵唳ㄠ唳曕 唳忇 唳膏唳む唳� 唳椸Σ唰嵿Κ 唳唳班Ε唳� 唳涏唳唳涏唳侧唳� 唳唳班唳灌唳膏イ 唳Π唰� 唳膏Μ唳椸唳侧 唳忇唳む唳班唳� 唳曕Π唰� 唳忇 唳Σ唳距唰� 唳唳班唳距Χ 唳曕Π唰囙Θ - 唳む唳� 唳唳班Ε唳� 唳椸Σ唰嵿Κ唳椸唳班Θ唰嵿Ε啷� 唳多唳班唳� 唳︵唳曕唳� 唳忇唳熰 唳唳侧唳� 唳椸Σ唰嵿Κ唳� 唳嗋唰� - "Street Corner Man"啷� 唳忇唳距Α唳监唳� 唳唳唰囙Π 唳多唳� 唳呧唳多 唳呧Θ唰嵿Δ唳班唳唳曕唳� 唳曕Π唰囙唰囙Θ 唳椸唳熰 唳嗋Ψ唰嵿唰囙 唳膏唳Σ唰嵿Κ唳︵唳班唳樴唳� fable 唳 fantasy啷�
*
唰оН唰Ё 唳膏唳侧 唳唳班唳唳ㄠ唳む唳� 唳唳班Ω唰嵿唳距Π 唳溹唳む 唳班唳む唳班唳む 唳唳多唳唰嵿Ο唳距Δ唳� 唳溹唳熰 唳唳班唳灌唳膏唳� 唳曕Κ唳距Σ唰囙イ 唳むΖ唰嵿Ζ唳苦Θ唰� 唳む唳ㄠ 唳呧Θ唰嵿Η, 唳唳班唳о唰嵿Ο唰囙Π 唳︵唳班唰嬥Α唳监唳啷� 唳む唳班Κ唳班 唳嗋Π唰� 唳呧Π唰嵿Η唳多Δ唳距Μ唰嵿Ζ唰€ 唳唳班唳唰� 唳椸唳涏, 唳︵唳ㄠ唳唳距Π 唳侧唳� 唳侧唳唳熰唳� 唳嗋Ξ唰囙Π唳苦唳距Θ 唳膏唳灌唳む唳� 唳膏Ξ唰嵿Κ唳班唳曕 唳嗋Π 唳曕唳涏 唳ㄠ 唳溹唳ㄠΣ唰囙 唳唳班唳曕唳�-唳ㄠ唳班唳︵-唳唳班唳灌唳� 唳忇 唳灌Σ唳� 唳熰唳班唳ㄠ唳熰唳� 唳ㄠ唳� 唳呧Θ唰嵿Δ唳� 唳溹唳ㄠ啷� 唳唳ム唳唳� 唳忇 唳唳ム 唳ム唳曕 唳嗋Π唰囙 唳唳ム 唳Π唰嵿Ο唳ㄠ唳� 唳Δ 唳侧唳栢 唳唳班唳灌唳膏唳� 唳膏唳灌唳む唳� 唳︵唳唳班 唳唳班Ν唳距Μ唳苦Δ 唳灌Ο唳监唳涏唳�, 唳囙Θ唰嵿Ω唳唳班唳多Θ 唳栢唳佮唰� 唳唳唰囙唰囙Θ, 唳呧Θ唰佮唳班Γ 唳曕Π唳距Π 唳唳班Ο唳监唳� 唳唳唰囙唰囙Θ, 唳膏唳� 唳侧唳膏唳熰 唳多唳班 唳曕Π唳侧 唳嗋Ζ唰� 唳多唳� 唳灌Μ唰� 唳ㄠ啷� 唳嗋Ξ唳距Π 唳ㄠ唳溹唳� 唳Α唳监唳� 唳Η唰嵿Ο唰� 唳嗋唰囙Θ 唳唳班唳 唳唳班唳曕唳� 唳侧唳栢 唳Σ 唳呧Ω唰嵿唳距Π, 唳嗋Π 唳曕Ο唳监唳� 唳唳� 唳嗋唰囙 唳唳唳�-唳熰-唳唳唳� 唳Α唳监Σ唳距Ξ 唳囙唳椸唳膏唳侧唳唳唳距Π 唳︵唳ㄠ唳侧 唳曕唳� 唳忇Μ唳� 唳嗋Π唰囙 唳唳班唳曕唳� 唳侧唳栢 唳唳唳班 唳侧唳唳膏唳� 唳椸Σ唰嵿Κ 唳膏唳曕Σ唳ㄠイ 唳︵唳溹Θ唳� 唳唳班唳灌唳�-唳唳班Ν唳距Μ唳苦Δ啷�
唳忇 唳唳唰� 唳唳班唳灌唳膏唳� 唳膏唳� 唳膏唳Δ唳ㄠ唳む唳� 唳椸Ζ唰嵿Ο唰囙Π 唳唳班Ε唳� 唳膏Θ唰嵿Η唳距Θ 唳唳撪Ο唳监 唳唳啷� 唳灌Ο唳监Δ唰� 唳唳班唳唳班 唳Π唳苦Κ唳曕唳� 唳ㄠΟ唳� - 唳曕唳ㄠ唳む 唳膏唳熰唳囙Σ唳熰 唳嗋唳距唰嬥Α唳监唳� 唳Π唳苦唳苦Δ啷� 唳唳班唳灌唳膏唳 唳椸Ζ唰嵿Ο唰囙Π 唳Ε唳距Π唰嵿Ε 唳Π唰嵿Γ唳ㄠ 唳︵唳唳距Π 唳Δ 唳︵唳班唳� 唳曕唳� 唳栢唳� 唳呧Σ唰嵿Κ唳� 唳嗋唰� 唳Σ唰� 唳嗋Ξ唳距Π 唳Θ唰� 唳灌Ο唳监イ 唳ㄠ唳溹唳� 唳Η唰嵿Ο唰� 唳呧Θ唰囙 唳栢唳佮唰囙唳�, 唳曕唳ㄠ唳む 唳むΜ唰佮 唳忇 唳膏Ξ唰嵿Ξ唰嬥唳ㄠ 唳椸Ζ唰嵿Ο唳多唳侧唳曕 唳ㄠ唳栢唳佮Δ 唳膏唳溹唳炧唳唳苦Δ 唳曕Π唳距Π 唳溹Θ唰嵿Ο唰� 唳 唳唳多唳粪Γ-唳唳多唳粪唳� 唳︵Π唳曕唳�, 唳膏唳椸唳侧 唳嗋Ξ唳距Π 唳溹唳ㄠ 唳ㄠ唳囙イ 唳唳班唳灌唳膏唰� 唳樴唳班 唳曕唳� 唳曕唳� "philosophical fiction" 唳む唳唳熰 唳唳Μ唳灌唳� 唳曕Π唰囙Θ, 唳曕唳� 唳曕唳� 唳Σ唰囙Θ 唳む唳� 唳椸Ζ唰嵿Ο "fantastic" 唳曕唳唳熰唳椸Π唳苦Δ唰� 唳Α唳监Μ唰囙イ 唳曕唳ㄠ唳む 唳嗋Ξ唳距Π 唳曕唳涏 唳忇Π 唳曕唳ㄠ唳距 唳膏Θ唰嵿Δ唰嬥Ψ唳溹Θ唳� 唳Θ唰� 唳灌Ο唳� 唳ㄠ, 唳犩唳� 唳唳むΩ唳� 唳犩唳曕 唳ㄠ啷� 唳忇 唳多Μ唰嵿Ζ唰� 唳Π唰嵿Γ唳ㄠ 唳唳� 唳︵唳侧唳�, 唳灌Ο唳监Δ唰� 唳唳班唳灌唳� 唳膏Δ唰嵿Ο唳苦 唳曕唳� 唳唳班唳距Π 唳膏Π唳� 唳多唳班唳｀唳唳唳椸唳� 唳夃Π唰嵿Η唰囙イ
唳むΜ唰佮 唳忇唳熰 唳唳Π唰嵿Ε 唳氞唳粪唳熰 唳む 唳曕Π唳� 唳唳む唳� 唳唳班啷� 唳唳班唳灌唳膏唳� 唳椸Ζ唰嵿Ο 唳Α唳监Σ唰� 唳嗋Ξ唳距Π 唳唳ム唳 唳樴唳班唳� 唳Δ 唳忇唳熰 唳呧Θ唰佮Ν唰傕Δ唳� 唳灌Ο唳�, 唳Θ唰� 唳灌Ο唳� 唳多Μ唰嵿Ζ唰囙Π 唳溹唳侧 唳唳佮唳苦Ο唳监 唳唳多唳� 唳夃唰嵿唳む唳 唳ㄠ唳唰� 唳唳� 唳む唳ㄠ 唳嗋Ξ唳距唰�, 唳忇 唳唳班唳距Π 唳灌唳Θ唰嬥Ω唳苦Ω 唳 唳唳班唳熰唳椸 唳唳� 唳灌Ο唳监イ "唳唳班Λ唳む" 唳Σ唰� 唳 唳忇唳熰 唳曕Ε唳� 唳嗋唰�, 唳唳班唳灌唳膏唳� 唳侧唳栢Θ唰€ 唳呧Θ唰囙 唳膏Ξ唳 唳犩唳� 唳む唳� - 唳曕唳ㄠ唳む 唳む唳� 唳唳涏Θ唰囙 唳侧唳曕唳唰� 唳ム唳曕 唳曕唳む唳�, 唳嗋Π 唳膏Π唰嵿Μ唳む唳班 唳多Μ唰嵿Ζ唰囙Π 唳曕唳灌 唳 唳Π唰€唳氞唳曕 - 唳唳曕 唳唳班Δ唰嵿Ο唳曕唳� 唳曕Π唳� 唳唳, 唳曕唳ㄠ唳む 唳唳� 唳班唳ㄠ唳� 唳班唳膏唳Ν唰囙Ζ 唳曕Π唳� 唳呧Θ唰嵿Δ唳� 唳忇 唳唳犩唰囙Π 唳оΠ唳�-唳涏唳佮Ο唳监唳� 唳唳囙Π唰囙イ
Labyrinths 唳膏唳曕Σ唳ㄠ唳� 唳Δ 唳曕唳侧唳唰€ 唳曕唳� 唳忇唳� 唳ㄠΟ唳�, "Tl枚n, Uqbar, Orbis Tertius" 唳 "The Library of Babel" 唳 "The Garden of Forking Paths" 唳忇Π 唳Δ 唳氞唳�-唳о唳佮Η唳距Θ唰� 唳唳�-唳曕唳侧唳ㄠ 唳椸Σ唰嵿Κ 唳忇唳距Θ唰� 唳ㄠ唳囙イ 唳曕唳涏唳熰 唳呧唳苦唰嵿唳苦Δ唳曕Π, 唳曕唳涏唳熰 唳熰唳班唳唳唳� - 唳むΜ唰佮 唳唳班唳灌唳膏唳 唳椸唳侧唳о唳佮Η唳距Ο唳� 唳唳班Μ唰囙Χ唰囙Π 唳Ε 唳忇唳距Θ 唳ム唳曕唳� 唳多唳班啷�
December 22, 2017
鈥淣e yazd谋msa yazd谋m鈥� 鈥淏ir bak谋ma mutsuz bir adamd谋m, ama bu kitab谋 yazarken kendimi oyalay谋p avuttum鈥� 鈥淏ana 枚yle geliyor ki, iyi okurlar, iyi yazarlardan daha az. Okuma, elbette, yazmadan sonra gelen bir etkinliktir; daha g枚steri艧siz, daha 枚zg眉r, daha d眉艧眉nseldir鈥� 鈥淜itab谋n ad谋nda yer alan al莽akl谋k s枚zc眉臒眉 de 莽ok a臒谋r bir s枚z, ama b眉t眉n bu tantanan谋n ard谋nda hi莽bir 艧ey yok鈥� diyen Borges, kitab谋n tekrar yay谋nland谋臒谋 tarihten yirmi y谋l 枚nceki haliyle hi莽 de臒i艧tirmeden tekrar yay谋nlat谋rken; bir yandan da al莽akg枚n眉ll眉l眉臒眉n-眉zerine basa basa da olsa, g枚n眉l alman谋n-枚ncesinde k谋ra k谋ra da olsa, tarihini yaz谋yor ennn barok taraf谋ndan. 鈥淶alim Kurtar谋c谋 Lazarus Morell鈥� kitab谋n ilk hikayesi ve ak谋llara ziyan da bir giri艧鈥檈 sahip. 鈥淣ereden Nereye? Sayende imi艧 yufka y眉rekli 陌spanyol misyoner.鈥� Ka艧 yapay谋m derken g枚z 莽谋kartan misyoner Bartolome de las Casas s枚m眉rmenin eylem k谋sm谋n谋n baki kalmas谋n谋 sa臒layarak, 枚znesini de臒i艧tiriyor ve Antiller鈥檇eki alt谋n madenlerinin cehennem 莽ukurlar谋nda 莽眉r眉y眉p gitmekte olan Yerliler鈥檌nin yerine zencileri koyuyor bundan b枚yle onlar 莽眉r眉y眉p gitsinler diye-nas谋lsa birileri 莽眉r眉yecek 莽眉nk眉. Bu adilane d眉zen, bu insanc谋l d枚n眉艧眉m bir s眉re sonra sanatta isyana d枚n眉艧眉nce de her zaman oldu臒u gibi san鈥檃t kazan谋yor hi莽 ku艧kusuz. S枚m眉renin ve s枚m眉r眉lenin, al莽a臒谋n ve mazlumun durumuna olabilecek en ironik 艧ekilde yakla艧谋yor yazar. En 莽ok da bu so臒ukkanl谋 ve alayc谋 tavr谋na 艧apka 莽谋karmak gerek. Dinlere ger莽ek莽i bir kimlik, peygamberlere insani bir boyut katarak, zalimlere, al莽aklara, firavunlara g枚nl眉n眉 kapt谋rmayarak, ne d眉艧眉nm眉艧se yazm谋艧 Borges. Korkusuzca. D眉nyan谋n, t眉m zamanlarda, b枚yle cesur kalemlere ihtiyac谋 var kan谋mca.
鈥淜a莽ak k枚le 枚zg眉rl眉臒眉ne kavu艧may谋 bekleyedursun, Lazarus Morell鈥檌n kanc谋k melezleri kendi aralar谋nda bazen belli belirsiz bir ba艧 i艧aretiyle karar verirler ve k枚leyi g枚zden, kulaktan, elden, g眉nden, rezillikten, zamandan, koruyucular谋ndan, umars谋zl谋ktan, havadan, k枚pek s眉r眉lerinden, d眉nyadan, umuttan, terden ve kendinden kurtar谋verirlerdi. Bir kur艧un, bir b谋莽ak ya da kafaya inen bir sopa... Son kan谋t谋 yok etmek Mississippi鈥檔in kaplumba臒alar谋yla, yay谋nbal谋klar谋na kal谋rd谋.鈥�
鈥淜a莽ak k枚le 枚zg眉rl眉臒眉ne kavu艧may谋 bekleyedursun, Lazarus Morell鈥檌n kanc谋k melezleri kendi aralar谋nda bazen belli belirsiz bir ba艧 i艧aretiyle karar verirler ve k枚leyi g枚zden, kulaktan, elden, g眉nden, rezillikten, zamandan, koruyucular谋ndan, umars谋zl谋ktan, havadan, k枚pek s眉r眉lerinden, d眉nyadan, umuttan, terden ve kendinden kurtar谋verirlerdi. Bir kur艧un, bir b谋莽ak ya da kafaya inen bir sopa... Son kan谋t谋 yok etmek Mississippi鈥檔in kaplumba臒alar谋yla, yay谋nbal谋klar谋na kal谋rd谋.鈥�
September 8, 2015
氐賮丨丕鬲 賰鬲丕亘 丕夭 趩賵亘賴 丿丕乇 賵 賲噩丕夭丕鬲 卮丿诏丕賳 賵 鬲亘賴賰丕乇丕賳 賵 丿夭丿丕賳 丿乇賷丕賷賷 丕賳亘丕卮鬲賴 卮丿賴 賵 賵丕跇賴 亘賷 毓丿丕賱鬲賷 賵 卮乇丕乇鬲 丿乇 毓賳賵丕賳 賰鬲丕亘貙鬲乇爻 賵 賴賷亘鬲 亘乇 賲賷 丕賳诏賷夭丿貙丕賲丕 夭賷乇 丕賷賳 賴賲賴 胤賵賮丕賳 賴賷趩賷 賵 倬賵趩賷 丕爻鬲.賴賲賴 丕卮 賮賯胤 馗丕賴乇 丕爻鬲 賵 亘乇丕賷 賴賲賷賳 丕爻鬲 賰賴 卮丕賷丿 禺賵丕賳賳丿诏丕賳 亘鬲賵丕賳賳丿 丕夭 丌賳 賱匕鬲 亘亘乇賳丿.
February 21, 2017
Awww, my 1st Borges ^^ I remember the beauty, the confusion...just don't read it in your teenage years :D
April 1, 2017
唳椸唳∴Π唳苦Α唳膏 唳唳班Δ唳� 唳膏Κ唰嵿Δ唳距唰� 唳灌唳侧 唳栢唳ㄠ唳� 唳班唳唳� 唳ㄠ唳 唳唳唳距Θ唳� 唳唳膏唳� 唳曕Π唳距Π 唳忇唳熰 唳呧Ν唰嵿Ο唳距Ω 唳涏唳�, 唳Ζ唳苦 唳唳澿Δ唰� 唳唳班唳苦Σ唳距Ξ 唳唳班 唳忇Ω唳� 唳Α唳监唰� 唳む唳班 唳唳� 唳唳班唰嵿Δ唳� 唳灌唰嵿唰�, 唳む 唳膏Δ唰嵿Δ唰嵿Μ唰囙 唳膏 唳呧Ν唰嵿Ο唳距Ω 唳оΠ唰� 唳班唳栢唳� 唳唳� 唳多唰嵿Δ 唳囙唰嵿唳� 唳班唳栢Δ唳距Ξ啷� 唳曕唳ㄠ唳む 唳囙唰嵿唳距Ο唳� 唳膏Μ 唳灌Ο唳� 唳ㄠ啷� 唳Α唳监Δ唰囙 唳唳班唳� 唳曕, 唳嗋Π 唳班唳唳夃イ 唳侧唳栢唳� 唳唳唳唳班唳� 唳囙Θ唳距Π唰嵿Χ唳苦Ο唳监啷� 唳唳� 唳膏 唳曕Ε唳�, 唳嗋唳� 唳班唳唳� 唳侧唳栢Δ唰� 唳Ω唳苦Θ唳苦イ 唳多唳о 唳唳班唳灌唳� 唳Α唳监Δ唰� 唳多唳班 唳曕Π唰囙唳�, 唳忇唳熰 唳 唳Α唳监 唳多唳� 唳曕Π唰囙唳� 唳膏唳熰 唳溹唳ㄠ唳む 唳Ω唰囙唳�, 唳栢唳多 唳唳� 唳曕Π唳む 唳忇Ω唰囙唳苦イ
Historia universal de la infamia 唳忇Π 唳︵唳栢唳ㄠ 唳呧Θ唰佮Μ唳距Ζ 唳嗋唰� 唳忇唳熰 唰оН唰Ж 唳膏唳侧唳� A Universal History of Infamy, 唳嗋Π唰囙唳熰 唰оН唰Н 唳膏唳侧唳� A Universal History of Iniquity 唳︵唳囙唳距Θ唳距 唳忇唳膏唳ム 唳Α唳监唳涏啷� 唰оН唰Ж 唳膏唳侧唳� 唳呧Θ唰佮Μ唳距Ζ唳熰唳� 唳唳曕唳唳犩Θ 唳唳� 唳侧唳椸唳涏 唳嗋Π 唰оН唰Н 唳膏唳侧唳� 唳呧Θ唰佮Μ唳距Ζ唰囙Π 唳多Μ唰嵿Ζ唳氞Ο唳监Θ啷� 唳Ζ唳� 唳忇唳熰唳� 唳唰嵿Ψ唰� 唳唳� 唳︵唳む 唳ㄠ唳む唳ㄠ唳む 唳唳о唳� 唳灌 唳むΜ唰� 唳栢唳� 唳膏Ξ唰嵿Ν唳Δ 唳唳班唳ㄠ唳熰唳曕唳� 唳唳涏 唳ㄠ唳啷� 唳唳班唳灌唳� 唳ㄠ唳溹 唳曕唳ㄠ唳む 唳曕唳ㄠ唳熰唳曕唳� '唳呧Ε唳班唳囙唳�' 唳灌唳膏唳 唳唳涏 唳ㄠ唳ㄠΘ唳苦イ
唳唳熰唳む 唳嗋Κ唳距Δ 唳︵唳粪唳熰唳む 唳囙Δ唳苦唳距Ω唰囙Π 唳曕唳涏 '唳曕唳栢唳唳�' 唳唳唰嵿Δ唳苦唰� 唳ㄠ唳唰� 唳膏唳溹唳膏唳唳熰 唳椸Σ唰嵿Κ 唳嗋唰�, 唳唳班 唳唳ム唳唳� 唳ㄠ唳ㄠ 唳溹唳唳椸唳 唳ㄠ唳ㄠ唳唳 唳忇 唳曕唳栢唳唳む 唳呧Π唰嵿唳� 唳曕Π唰囙唳苦Σ唰囙Θ啷� 唳椸Σ唰嵿Κ唳椸唳侧 '唳嗋Κ唳距Δ' 唳︵唳粪唳熰唳む 唳膏Π唳� 唳Θ唰� 唳灌Σ唰囙 唳 唳ㄠ唳む唳ㄠ唳む 唳膏Π唳� 唳ㄠΟ唳� 唳膏唳熰 唳嗋Ξ唳� 唳唳班Ε唳� 唳椸Σ唰嵿Κ 唳Α唳监唳� 唳唳澿 唳椸唳唰囙唳苦Σ唳距Ξ啷� 唳唳班Ε唳� 唳椸Σ唰嵿Κ唳熰 唳 唳曕唳栢唳唳� 唳唳ㄠ唳粪唳苦唰� 唳ㄠ唳唰�, 唳む唳ㄠ 唳 唳膏Ξ唳唳熰唳む 唳唳佮唰� 唳涏唳侧唳�, 唳膏 唳膏Ξ唳唳曕 唳曕唳ㄠ唳︵唳� 唳曕Π唰� 唳ㄠΔ唰佮Θ 唳忇 唳侧唳栢唰囙Π 唳侧唳栢 唳唳班唳 唰Е唰� 唳唳む唳� 唳愢Δ唳苦唳距Ω唳苦 唳夃Κ唳ㄠ唳唳� 唳嗋Ξ唳� 唳Α唳监唳涏唳侧唳� 唳椸Δ唳唳班イ 唳犩唳� 唳 唳唳灌唳班唳む 唳唳澿Σ唳距Ξ 唰Е唰� 唳唳む唳� 唳夃Κ唳ㄠ唳唳� 唳Α唳监 唳膏 唳膏Ξ唳唳熰唳曕 唳嗋Ξ唳� 唳Δ唳熰唳� 唳оΠ唳む 唳唳班唳涏唳侧唳�, 唰оЖ 唳唳む唳� 唳椸Σ唰嵿Κ唰� 唳 唳膏Ξ唳唳熰 唳む唳� 唳氞唳唰� 唳唳多 唳 唳曕Ξ 唳оΠ唳� 唳︵唳氞唳涏 唳ㄠ, 唳犩唳� 唳膏唳� 唳唳灌唳班唳む 唳嗋Ξ唳� 唳唳椸唳� 唳灌Ο唳监 唳椸唳侧唳イ 唳Ζ唳苦 唳忇唳距 唳唳班唳灌唳膏唰� 唳ㄠ唳唰� 唳唳椸唳оΔ唳距Π 唳唳� 唳曕唳班Γ 唳ㄠΟ唳�, 唳唳� 唳曕唳班Γ '唳唳唳栢唳唳� 唳呧Δ唰€唳�', 唳忇Μ唳� 唳唳唳栢唳唳� 唳曕Ψ唰嵿 唳曕Π唳む 唳囙唰嵿唰� 唳灌唰嵿唰� 唳ㄠ啷� 唳忇唳� 唳嗋Ω唳侧 唳忇唳む唳班 唳︵唳熰 唳呧Θ唰佮Μ唳距Ζ 唳Α唳监唳� 唳唳� 唳曕唳班Γ, 唳唳む 唳曕Π唰� 唳唳粪唳� 唳班唳唳ㄠ唳むΠ唰� 唳Δ唳熰唳曕 唳栢唳唳� 唳椸唳涏, 唳む 唳曕唳涏唳熰 唳曕Ξ唳苦Ο唳监 唳嗋Θ唳� 唳唳啷�
唳唳�, 唳忇唳� 唳唳曕唳椸唳侧 唳忇 唳曕唰嵿唳� 唳椸Δ唳苦Δ唰� 唳灌Σ唰囙 唳Α唳监 唳唳侧Δ唰� 唳灌Μ唰囙イ
Historia universal de la infamia 唳忇Π 唳︵唳栢唳ㄠ 唳呧Θ唰佮Μ唳距Ζ 唳嗋唰� 唳忇唳熰 唰оН唰Ж 唳膏唳侧唳� A Universal History of Infamy, 唳嗋Π唰囙唳熰 唰оН唰Н 唳膏唳侧唳� A Universal History of Iniquity 唳︵唳囙唳距Θ唳距 唳忇唳膏唳ム 唳Α唳监唳涏啷� 唰оН唰Ж 唳膏唳侧唳� 唳呧Θ唰佮Μ唳距Ζ唳熰唳� 唳唳曕唳唳犩Θ 唳唳� 唳侧唳椸唳涏 唳嗋Π 唰оН唰Н 唳膏唳侧唳� 唳呧Θ唰佮Μ唳距Ζ唰囙Π 唳多Μ唰嵿Ζ唳氞Ο唳监Θ啷� 唳Ζ唳� 唳忇唳熰唳� 唳唰嵿Ψ唰� 唳唳� 唳︵唳む 唳ㄠ唳む唳ㄠ唳む 唳唳о唳� 唳灌 唳むΜ唰� 唳栢唳� 唳膏Ξ唰嵿Ν唳Δ 唳唳班唳ㄠ唳熰唳曕唳� 唳唳涏 唳ㄠ唳啷� 唳唳班唳灌唳� 唳ㄠ唳溹 唳曕唳ㄠ唳む 唳曕唳ㄠ唳熰唳曕唳� '唳呧Ε唳班唳囙唳�' 唳灌唳膏唳 唳唳涏 唳ㄠ唳ㄠΘ唳苦イ
唳唳熰唳む 唳嗋Κ唳距Δ 唳︵唳粪唳熰唳む 唳囙Δ唳苦唳距Ω唰囙Π 唳曕唳涏 '唳曕唳栢唳唳�' 唳唳唰嵿Δ唳苦唰� 唳ㄠ唳唰� 唳膏唳溹唳膏唳唳熰 唳椸Σ唰嵿Κ 唳嗋唰�, 唳唳班 唳唳ム唳唳� 唳ㄠ唳ㄠ 唳溹唳唳椸唳 唳ㄠ唳ㄠ唳唳 唳忇 唳曕唳栢唳唳む 唳呧Π唰嵿唳� 唳曕Π唰囙唳苦Σ唰囙Θ啷� 唳椸Σ唰嵿Κ唳椸唳侧 '唳嗋Κ唳距Δ' 唳︵唳粪唳熰唳む 唳膏Π唳� 唳Θ唰� 唳灌Σ唰囙 唳 唳ㄠ唳む唳ㄠ唳む 唳膏Π唳� 唳ㄠΟ唳� 唳膏唳熰 唳嗋Ξ唳� 唳唳班Ε唳� 唳椸Σ唰嵿Κ 唳Α唳监唳� 唳唳澿 唳椸唳唰囙唳苦Σ唳距Ξ啷� 唳唳班Ε唳� 唳椸Σ唰嵿Κ唳熰 唳 唳曕唳栢唳唳� 唳唳ㄠ唳粪唳苦唰� 唳ㄠ唳唰�, 唳む唳ㄠ 唳 唳膏Ξ唳唳熰唳む 唳唳佮唰� 唳涏唳侧唳�, 唳膏 唳膏Ξ唳唳曕 唳曕唳ㄠ唳︵唳� 唳曕Π唰� 唳ㄠΔ唰佮Θ 唳忇 唳侧唳栢唰囙Π 唳侧唳栢 唳唳班唳 唰Е唰� 唳唳む唳� 唳愢Δ唳苦唳距Ω唳苦 唳夃Κ唳ㄠ唳唳� 唳嗋Ξ唳� 唳Α唳监唳涏唳侧唳� 唳椸Δ唳唳班イ 唳犩唳� 唳 唳唳灌唳班唳む 唳唳澿Σ唳距Ξ 唰Е唰� 唳唳む唳� 唳夃Κ唳ㄠ唳唳� 唳Α唳监 唳膏 唳膏Ξ唳唳熰唳曕 唳嗋Ξ唳� 唳Δ唳熰唳� 唳оΠ唳む 唳唳班唳涏唳侧唳�, 唰оЖ 唳唳む唳� 唳椸Σ唰嵿Κ唰� 唳 唳膏Ξ唳唳熰 唳む唳� 唳氞唳唰� 唳唳多 唳 唳曕Ξ 唳оΠ唳� 唳︵唳氞唳涏 唳ㄠ, 唳犩唳� 唳膏唳� 唳唳灌唳班唳む 唳嗋Ξ唳� 唳唳椸唳� 唳灌Ο唳监 唳椸唳侧唳イ 唳Ζ唳苦 唳忇唳距 唳唳班唳灌唳膏唰� 唳ㄠ唳唰� 唳唳椸唳оΔ唳距Π 唳唳� 唳曕唳班Γ 唳ㄠΟ唳�, 唳唳� 唳曕唳班Γ '唳唳唳栢唳唳� 唳呧Δ唰€唳�', 唳忇Μ唳� 唳唳唳栢唳唳� 唳曕Ψ唰嵿 唳曕Π唳む 唳囙唰嵿唰� 唳灌唰嵿唰� 唳ㄠ啷� 唳忇唳� 唳嗋Ω唳侧 唳忇唳む唳班 唳︵唳熰 唳呧Θ唰佮Μ唳距Ζ 唳Α唳监唳� 唳唳� 唳曕唳班Γ, 唳唳む 唳曕Π唰� 唳唳粪唳� 唳班唳唳ㄠ唳むΠ唰� 唳Δ唳熰唳曕 唳栢唳唳� 唳椸唳涏, 唳む 唳曕唳涏唳熰 唳曕Ξ唳苦Ο唳监 唳嗋Θ唳� 唳唳啷�
唳唳�, 唳忇唳� 唳唳曕唳椸唳侧 唳忇 唳曕唰嵿唳� 唳椸Δ唳苦Δ唰� 唳灌Σ唰囙 唳Α唳监 唳唳侧Δ唰� 唳灌Μ唰囙イ
March 8, 2013
I somehow managed to get a BA with a focus on comparative literature and continental philosophy and then a PhD with a focus on twentieth century literature without reading any Borges. How did that happen? Well, any time I tried to read South American 'magical realist' literature I broke out in hives of boredom, and I thought maybe Borges was to blame; in addition, I thought, and still think, that Borges might be responsible in part for recent developments in the anglo-american literature of conceit (you know, books called things like The Amazing Adventures of Kloofy Krumpleflugger, in which Kloofy Krumpleflugger has some kind of cute mental condition, a conflicted relationship with his mother, and is able to talk to animals--but which has absolutely no intellectual, emotional or ethical weight whatsoever outside a bland kind of liberalism).
Well, I was wrong, I know, I should have read him earlier. This collection is a charming nothing, which is exactly what I was looking for. The narrative voice is delightful, the stories slightly magical but really more or less straight retellings of traditional stories from the middle east and east asia, or nineteenth century tales of outlawry. And, somewhat confusingly, tales from Swedenborg (. Borges' 'original' tale, 'Man on Pink Corner,' is a'ight, but not as much fun as the others.
I fear I'll get less impressed by Borges if his work gets more serious than this; people who deal with 'universal themes' in a serious way are always unbearable.
Well, I was wrong, I know, I should have read him earlier. This collection is a charming nothing, which is exactly what I was looking for. The narrative voice is delightful, the stories slightly magical but really more or less straight retellings of traditional stories from the middle east and east asia, or nineteenth century tales of outlawry. And, somewhat confusingly, tales from Swedenborg (. Borges' 'original' tale, 'Man on Pink Corner,' is a'ight, but not as much fun as the others.
I fear I'll get less impressed by Borges if his work gets more serious than this; people who deal with 'universal themes' in a serious way are always unbearable.
August 31, 2015
Bozzetti? Suggestioni.
Nel giudicare la 鈥淪toria universale dell鈥檌nfamia鈥� non si pu貌 ignorare che il maestro argentino pubblic貌 questi scritti alla spicciolata su un quotidiano locale, 10 anni prima delle opere di narrativa che gli diedero la fama.
Va da s茅 che attendersi un鈥檕pera complessivamente paragonabile a 鈥淔inzioni鈥� o 鈥淟鈥橝leph鈥� 猫 un approccio vano oltre che ingeneroso nei confronti di una raccolta che pure presenta chiari elementi gi脿 in grado di riverberare il genio dell鈥檃utore destinato ad esprimersi ai suoi massimi nella maturit脿.
Fra queste storie, apparente divertissement di un curioso ed originale uomo di grande cultura e molteplici influenze, emergono e quasi esplodono, in modo puntualmente inaspettato, improvvise aperture verso orizzonti di fantasia abbagliante, invenzioni buttate l矛 in una riga ed in maniera quasi distratta, ma che potrebbero generare ulteriori racconti (se non addirittura romanzi, formato tuttavia non congeniale alla penna di Borges).
E quindi ci貌 che in primo luogo quest鈥檕pera lascia nella nostra memoria 猫 sintetizzabile nel termine ampio e vago di 鈥渟uggestioni鈥�, suggestioni di mondi immaginari e illusori, specchi, destini, incantesimi, soprattutto sogni.
Nel giudicare la 鈥淪toria universale dell鈥檌nfamia鈥� non si pu貌 ignorare che il maestro argentino pubblic貌 questi scritti alla spicciolata su un quotidiano locale, 10 anni prima delle opere di narrativa che gli diedero la fama.
Va da s茅 che attendersi un鈥檕pera complessivamente paragonabile a 鈥淔inzioni鈥� o 鈥淟鈥橝leph鈥� 猫 un approccio vano oltre che ingeneroso nei confronti di una raccolta che pure presenta chiari elementi gi脿 in grado di riverberare il genio dell鈥檃utore destinato ad esprimersi ai suoi massimi nella maturit脿.
Fra queste storie, apparente divertissement di un curioso ed originale uomo di grande cultura e molteplici influenze, emergono e quasi esplodono, in modo puntualmente inaspettato, improvvise aperture verso orizzonti di fantasia abbagliante, invenzioni buttate l矛 in una riga ed in maniera quasi distratta, ma che potrebbero generare ulteriori racconti (se non addirittura romanzi, formato tuttavia non congeniale alla penna di Borges).
E quindi ci貌 che in primo luogo quest鈥檕pera lascia nella nostra memoria 猫 sintetizzabile nel termine ampio e vago di 鈥渟uggestioni鈥�, suggestioni di mondi immaginari e illusori, specchi, destini, incantesimi, soprattutto sogni.
December 26, 2018
This early selection of short-stories was revised by Borges in 1954 after an original release in 1935.
Most of these were published in singular form in the Buenos Aires newspaper Critica. The collection slots in nicely alongside most of his work. and features all the hallmarks you would come to expect from the Argentine master. Borges looks at notorious criminals from history as well as making things up as he goes along, so it's a classic example of fusing truths and imagination. Although there are similarities with later work, you get the impression he is still shaping and defining his distinctive voice here. An entertaining read from start to finish, only hampered by the fact that towards the end the pieces get shorter and shorter.
My faves were -
Tom Castro, the Implausible Impostor
The Disinterested Killer Bill Harrigan
The Masked Dyer, Hakim of Merv
Streetcorner Man.
Most of these were published in singular form in the Buenos Aires newspaper Critica. The collection slots in nicely alongside most of his work. and features all the hallmarks you would come to expect from the Argentine master. Borges looks at notorious criminals from history as well as making things up as he goes along, so it's a classic example of fusing truths and imagination. Although there are similarities with later work, you get the impression he is still shaping and defining his distinctive voice here. An entertaining read from start to finish, only hampered by the fact that towards the end the pieces get shorter and shorter.
My faves were -
Tom Castro, the Implausible Impostor
The Disinterested Killer Bill Harrigan
The Masked Dyer, Hakim of Merv
Streetcorner Man.
October 21, 2020
This appears to have been Borges' first book. Published in the thirties, it comprises seven biographies of the infamous, his first short story and a series of reworked tales, some from the 1001 and 1 Nights. The biographies are, all of them, delightfully Borgesian, dryly ironical. The story "Streetcorner Man" is rather amateurish. The retellings remind one of how old the fantastical traditions embodied in his later short stories really are.
Short, readable, I finished the whole of this slight work in a single sitting.
Short, readable, I finished the whole of this slight work in a single sitting.
May 2, 2013
Another re-read. Young Borges working his way toward fiction by playing with fact. Perfidious individuals from history and legend stride through the pages of this slim book, spreading death and fear across 4 continents before coming to, for the most part, sticky ends. A great preamble to a unique body of work, but don't let this be your first or only Borges.
Displaying 1 - 30 of 894 reviews
Can't find what you're looking for?
Get help and learn more about the design.