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Jorge Luis Borges was one of those very rare creators who changed the face of an art form—in his case, the short story. His work has been paid the ultimate honor of being appropriated and imitated by innumerable writers on every continent of the world.
The seventeen brief masterpieces of FICCIONES explode the boundaries of genre, offering up labyrinthine libraries, a fictional encyclopedia entry that spawns an entire world, a review of a nonexistent writer’s attempt to re-create Don Quixote word for word, a man with the disabling inability to forget anything he has ever experienced, and other metaphysical puzzles. But the true measure of Borges’s greatness lies in the fact that his fictions—elaborately paradoxical, postmodern, and intellectually delicious as they are—managed to return the short story to the realm of the fabulous and the uncanny from which, as parable and fairy tale, it originally came.
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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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