Ficciones. C Edited and with an Introduction by Anthony Kerrigan

Jorge Luis Borges

Grove Press, 1962 - Fiction - 174 pages

Reading Jorge Luis Borges is an experience akin to having the top of one's head removed for repairs. First comes the unfamiliar breeze tickling your cerebral cortex; then disorientation, even mild discomfort; and finally, the sense that the world has been irrevocably altered--and in this case, rendered infinitely more complex. First published in 1945, his Ficciones compressed several centuries' worth of philosophy and poetry into 17 tiny, unclassifiable pieces of prose. He offered up diabolical tigers, imaginary encyclopedias, ontological detective stories, and scholarly commentaries on nonexistent books, and in the process exploded all previous notions of genre. Would any of David Foster Wallace's famous footnotes be possible without Borges? Or, for that matter, the syntactical games of Perec, the metafictional pastiche of Calvino? For good or for ill, the blind Argentinian paved the way for a generation's worth of postmodern monkey business--and fiction will never be simply "fiction" again. Its enormous influence on writers aside, Ficciones has also--perhaps more importantly--changed the way that we read. Borges's Pierre Menard, for instance, undertakes the most audacious project imaginable: to create not a contemporary version of Cervantes's most famous work but the Quixote itself, word for word. This second text is "verbally identical" to the original, yet, because of its new associations, "infinitely richer"; every time we read, he suggests, we are in effect creating an entirely new text, simply by viewing it through the distorting lens of history. "A book is not an isolated being: it is a relationship, an axis of innumerable relationships," Borges once wrote in an essay about George Bernard Shaw. "All men who repeat one line of Shakespeare are William Shakespeare," he tells us in "Tlön, Uqbar, Orbis Tertius." In this spirit, Borges is not above impersonating, even quoting, himself. It is hard, exactly, to say what all of this means, at least in any of the usual ways. Borges wrote not with an ideological agenda, but with a kind of radical philosophical playfulness. Labyrinths, libraries, lotteries, doubles, dreams, mirrors, heresiarchs: these are the tokens with which he plays his ontological games. In the end, ideas themselves are less important to him than their aesthetic and imaginative possibilities. Like the idealist philosophers of Tlön, Borges does not "seek for the truth or even for verisimilitude, but rather for the astounding"; for him as for them, "metaphysics is a branch of fantastic literature." --Mary Park.

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Contents

• INTRODUCTION: 9
• The Approach to AlMutasim: 37
• The Circular Ruins: 57
• The Garden of Forking Paths: 89
• Prologue: 105

About the author

JORGE LUIS BORGES was born into an intellectual family in Buenos Aires, in 1899. During his youth, the family lived in several countries including Spain and Switzerland. Because of his British ancestry, Borges learned English before Spanish, yet also acquired French and German at a young age. After World War I, Borges returned to Buenos Aires where he began his literary career, publishing in periodicals such as the prestigious Martin Fierro and Sur. In 1923, Borges published his first collection of poetry, entitled Fervor de Buenos Aires.

Bibliographic information

• Title: Ficciones. C Edited and with an Introduction by Anthony Kerrigan; An Evergreen book, E-368; English translation; Evergreen book; Volume 320 of Sección Literatura
• Author: Jorge Luis Borges
• Editor: Anthony Kerrigan
• Translated by: Anthony Kerrigan, Alastair Reid, Anthony Bonner, Helen Temple, Ruthven Todd
• Contributor: Anthony Kerrigan
• Edition: reprint
• Publisher: Grove Press, 1962
• ISBN: 0802130305, 9780802130303
• Length: 174 pages
• Subjects: Fiction / Literary; Fiction / Magical Realism; Fiction / Short Stories (single author)