Jorge Luis Borges, Andrew Hurley
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Jorge Luis Borges has been called the greatest Spanish-language writer of our century. Now for the first time in English, all of Borges' dazzling fictions are gathered into a single volume, brilliantly translated by Andrew Hurley. From his 1935 debut with The Universal History of Iniquity, through his immensely influential collections Ficciones and The Aleph, these enigmatic, elaborate, imaginative inventions display Borges' talent for turning fiction on its head by playing with form and genre and toying with language. Together these incomparable works comprise the perfect one-volume compendium for all those who have long loved Borges, and a superb introduction to the master's work for those who have yet to discover this singular genius.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
there are those who believe that it consisted of but a single line; others, of a single word. What we do know—however incredible it may be—is that within the poem lay the entire enormous palace, whole and to the least detail, with every venerable porcelain it contained and every scene on every porcelain, all the lights and shadows of its twilights, and every forlorn or happy moment of the glorious dynasties of mortals, gods, and dragons that had lived within it through all its endless past.
met in the vestibule and turned away. The black woman didn't know him ; Arredondo never learned who it had been. An avid reader of the news, Arredondo found it hard to renounce those museums of ephemera. He was not a thinking man, or one much given to meditation. His days and his nights were the same, but Sundays weighed on him. In mid-July he surmised he'd been mistaken in parceling out his time, which bears us along one way or another anyway. At that point he allowed his imagination to wander
underlying them. This story is in a way a portrait of the compadrito(the tough guy of the slums) or the cuchillero(knife fighter) and his life; as such, many items of that "local color" that Borges deplored in, for example, stories of the "exotic" Orient are found, though casually and unemphatically presented. The first thing that must be dealt with is perhaps that "pink corner." Esquina("corner") is both the actual street corner (as other translations of this story have given it, without the
great nostalgia for Borges. The Rose of Paracelsus p. 504: De Quincey, Writings, XIII, 345: "Insolent vaunt of Paracelsus, that he would restore the original rose or violet out of the ashes settling from its combustion— that is now rivalled in this modern achievement" ("The Palimpsest of the Hu-man Brain," Suspiriade Profundis). The introductory part of de Quincey's essay deals with the way modern chemistry had been able to recover the effaced writing under the latest writing on rolls of
martyrdom in Jerusalem, and another passage from Cicero's Académica priora in which Cicero mocks those who dream that while Cicero is speaking with Lucullus, other Luculluses and other Ciceros, infinite in number, speak precisely the same words in infinite identical worlds. He also scourged the Monotoni with that text from Plutarch on the obsolescence of the oracles, and decried the scandalous fact that the lumen natures should mean more to an idolater than the word of God to the Monotoni. The