Jorge Luis Borges

[kulla]

to my opinion, which is restless at a time when i have nothing to do, nothing to write, no pepper to sprinkle on the dishes of hungry costumers, all works of fiction of umberto eco are heavely influenced by borghes. but then again, after knowing borghes, everything I read is heavily influenced by his eyes and his way of reading. for that, I'm glad. simply put, he is the last of the immortals, a demon against which I had to fight hard.

on the other hand, borghes is a fine scholar, a traveler of all sorts, a wicked thinker with the abbility to build paradises out of twisted labyrinths. in order to understand our mind in an age of space travels and infinite ways of comunication through the internet, we have to hold on tight to borghes and his labyrinths. learn and admire. I am but a pawn in his game of chess, to be honest, one of the pawns of the rooks, whithout which he could play his game.
to me, he is a white bishop that I can only move on black squares.

[Cupke_pe_Korce]

thus, he too is "a mere apparence dreamt by another"!!!!

and what if we leave off dreaming about him?????????

[kulla]

done! what now? who do we dream of now? I'm dreaming of I, which in fact I was doing even before dreaming of him. and no, I've never dreamt him.

[Cupke_pe_Korce]

I believe that in essence, all appearances are alike. I dream of you, of him, of myself. Yeah , I always dream - life - my little dream.

There is no need to approach this notion with despair like Schopenhauer; It’s better with irony, laughter, isn’t it?

[katana]

am pleased, to say the least. kete teme e kisha hapur gati dy vite me pare dhe ishte humbur ne forum si nje liber ne librarine gjigande. dhe un si libraristja shpesh here e zbrisja nga rafti ku e kisha vene dhe i pastroja pluhrin qe kishte zene. nuk e nxirrte njeri nga libraria kete liber. shpresoj te mos ze me pluhur.

[Cupke_pe_Korce]

Katana-
I have always wanted to post "The South" I guess I have been too lazy :)

[katana]

it pleases me even more to know that I was the one who gave you Borges, although he is not mine to give. if it is bad karma to steal books from the library, only book am forgiven for is Borges'.


Funes, the Memorious

By Jorge Luis Borges

I remember him (I scarcely have the right to use this ghostly verb; only one man on earth deserved the right, and he is dead), I remember him with a dark passionflower in his hand, looking at it as no one has ever looked at such a flower, though they might look from the twilight of day until the twilight of night, for a whole life long. I remember him, his face immobile and Indian-like, and singularly remote, behind his cigarette. I remember (I believe) the strong delicate fingers of the plainsman who can braid leather. I remember, near those hands, a vessel in which to make maté tea, bearing the arms of the Banda Oriental; I remember, in the window of the house, a yellow rush mat, and beyond, a vague marshy landscape. I remember clearly his voice, the deliberate, resentful nasal voice of the old Eastern Shore man, without the Italianate syllables of today. I did not see him more than three times; the last time, in 1887. . . .

That all those who knew him should write something about him seems to me a very felicitous idea; my testimony may perhaps be the briefest and without doubt the poorest, and it will not be the least impartial. The deplorable fact of my being an Argentinian will hinder me from falling into a dithyramb - an obligatory form in the Uruguay, when the theme is an Uruguayan.

Littérateur, slicker, Buenos Airean: Funes did not use these insulting phrases, but I am sufficiently aware that for him I represented these unfortunate categories. Pedro Leandro Ipuche has written that Funes was a precursor of the superman, "an untamed and vernacular Zarathustra"; I do not doubt it, but one must not forget, either, that he was a countryman from the town of Fray Bentos, with certain incurable limitations.

My first recollection of Funes is quite clear: I see him at dusk, sometime in March or February of the year '84. That year, my father had taken me to spend the summer at Fray Bentos. I was on my way back from the farm at San Francisco with my cousin Bernardo Haedo. We came back singing, on horseback; and this last fact was not the only reason for my joy. After a sultry day, an enormous slate-grey-storm had obscured the sky. It was driven on by a wind from the south; the trees were already tossing like madmen; and I had the apprehension (the secret hope) that the elemental downpour would catch us out in the open. We were running a kind of race with the tempest. We rode into a narrow lane which wound down between two enormously high brick footpaths. It had grown black of a sudden; I now heard rapid almost secret steps above; I raised my eyes and saw a boy running along the narrow, cracked path as if he were running along a narrow, broken wall. I remember the loose trousers, tight at the bottom, the hemp sandals; I remember the cigarette in the hard visage, standing out against the by now limitless darkness. Bernardo unexpectedly yelled to him: "What's the time, Ireneo?" Without looking up, without stopping, Ireneo replied: "In ten minutes it will be eight o'clock, child Bernardo Juan Francisco." The voice was sharp, mocking.

I am so absentminded that the dialogue which I have just cited would not have penetrated my attention if it had not been repeated by my cousin, who was stimulated, I think, by a certain local pride and by a desire to show himself indifferent to the other's three-sided reply.

He told me that the boy above us in the pass was a certain Ireneo Funes, renowned for a number of eccentricities, such as that of having nothing to do with people and of always knowing the time, like a watch. He added that Ireneo was the son of Maria Clementina Funes, an ironing woman in the town, and that his father, some people said, was an "Englishman" named O'Connor, a doctor in the salting fields, though some said the father was a horse-breaker, or scout, from the province of El Salto. Ireneo lived with his mother, at the edge of the country house of the Laurels.

In the years '85 and '86 we spent the summer in the city of Montevideo. We returned to Fray Bentos in '87. As was natural, I inquired after all my acquaintances, and finally, about "the chronometer Funes." I was told that he had been thrown by a wild horse at the San Francisco ranch, and that he had been hopelessly crippled. I remember the impression of uneasy magic which the news provoked in me: the only time I had seen him we were on horseback, coming from San Francisco, and he was in a high place; from the lips of my cousin Bernardo the affair sounded like a dream elaborated with elements out of the past. They told me that Ireneo did not move now from his cot, but remained with his eyes fixed on the backyard fig tree, or on a cobweb. At sunset he allowed himself to be brought to the window. He carried pride to the extreme of pretending that the blow which had befallen him was a good thing. . . . Twice I saw him behind the iron grate which sternly delineated his eternal imprisonment: unmoving, once, his eyes closed; unmoving also, another time, absorbed in the contemplation of a sweet-smelling sprig of lavender cotton.

At the time I had begun, not without some ostentation, the methodical study of Latin. My valise contained the De viris illustribus of Lhomond, the Thesaurus of Quicherat, Caesar's Commentaries, and an odd-numbered volume of the Historia Naturalis of Pliny, which exceeded (and still exceeds) my modest talents as a Latinist. Everything is noised around in a small town; Ireneo, at his small farm on the outskirts, was not long in learning of the arrival of these anomalous books. He sent me a flowery, ceremonious letter, in which he recalled our encounter, unfortunately brief, "on the seventh day of February of the year '84," and alluded to the glorious services which Don Gregorio Haedo, my uncle, dead the same year, "had rendered to the Two Fatherlands in the glorious campaign of Ituzaingó," and he solicited the loan of any one of the volumes, to be accompanied by a dictionary "for the better intelligence of the original text, for I do not know Latin as yet." He promised to return them in good condition, almost immediately. The letter was perfect, very nicely constructed; the orthography was of the type sponsored by Andrés Bello: i for y, j for g. At first I naturally suspected a jest. My cousins assured me it was not so, that these were the ways of Ireneo. I did not know whether to attribute to impudence, ignorance, or stupidity the idea that the difficult Latin required no other instrument than a dictionary; in order fully to undeceive him I sent the Gradus ad Parnassum of Quicherat, and the Pliny.

On 14 February, I received a telegram from Buenos Aires telling me to return immediately, for my father was "in no way well." God forgive me, but the prestige of being the recipient of an urgent telegram, the desire to point out to all of Fray Bentos the contradiction between the negative form of the news and the positive adverb, the temptation to dramatize my sorrow as I feigned a virile stoicism, all no doubt distracted me from the possibility of anguish. As I packed my valise, I noticed that I was missing the Gradus and the volume of the Historia Naturalis. The "Saturn" was to weigh anchor on the morning of the next day; that night, after supper, I made my way to the house of Funes. Outside, I was surprised to find the night no less oppressive than the day.

Ireneo's mother received me at the modest ranch.

She told me that Ireneo was in the back room and that I should not be disturbed to find him in the dark, for he knew how to pass the dead hours without lighting the candle. I crossed the cobblestone patio, the small corridor; I came to the second patio. A great vine covered everything, so that the darkness seemed complete. Of a sudden I heard the high-pitched, mocking voice of Ireneo. The voice spoke in Latin; the voice (which came out of the obscurity) was reading, with obvious delight, a treatise or prayer or incantation. The Roman syllables resounded in the earthen patio; my suspicion made them seem undecipherable, interminable; afterwards, in the enormous dialogue of that night, I learned that they made up the first paragraph of the twenty-fourth chapter of the seventh book of the Historia Naturalis. The subject of this chapter is memory; the last words are ujt nihil non iisdem verbis redderetur auditum.

Without the least change in his voice, Ireneo bade me come in. He was lying on the cot, smoking. It seems to me that I did not see his face until dawn; I seem to recall the momentary glow of the cigarette. The room smelled vaguely of dampness. I sat down, and repeated the story of the telegram and my father's illness.

I come now to the most difficult point in my narrative. For the entire story has no other point (the reader might as well know it by now) than this dialogue of almost a half-century ago. I shall not attempt to reproduce his words, now irrecoverable. I prefer truthfully to make a résumé of the many things Ireneo told me. The indirect style is remote and weak; I know that I sacrifice the effectiveness of my narrative; but let my readers imagine the nebulous sentences which coulded that night.

Ireneo began by enumerating, in Latin and Spanish, the cases of prodigious memory cited in the Historia Naturalis: Cyrus, king of the Persians, who could call every soldier in his armies by name; Mithridates Eupator, who administered justice in the twenty-two languages of his empire; Simonides, inventory of mnemotechny; Metrodorus, who practised the art of repeating faithfully what he heard once. With evident good faith Funes marvelled that such things should be considered marvellous. He told me that previous to the rainy afternoon when the blue-tinted horse threw him, he had been - like any Christian - blind, deaf-mute, somnambulistic, memoryless. (I tried to remind him of his precise perception of time, his memory for proper names; he paid no attention to me.) For nineteen years, he said, he had lived like a person in a dream: he looked without seeing, heard without hearing, forgot everything - almost everything. On falling from the horse, he lost consciousness; when he recovered it, the present was almost intolerable it was so rich and bright; the same was true of the most ancient and most trivial memories. A little later he realized that he was crippled. This fact scarcely interested him. He reasoned (or felt) that immobility was a minimum price to pay. And now, his perception and his memory were infallible.

We, in a glance, perceive three wine glasses on the table; Funes saw all the shoots, clusters, and grapes of the vine. He remembered the shapes of the clouds in the south at dawn on the 30th of April of 1882, and he could compare them in his recollection with the marbled grain in the design of a leather-bound book which he had seen only once, and with the lines in the spray which an oar raised in the Rio Negro on the eve of the battle of the Quebracho. These recollections were not simple; each visual image was linked to muscular sensations, thermal sensations, etc. He could reconstruct all his dreams, all his fancies. Two or three times he had reconstructed an entire day. He told me: I have more memories in myself alone than all men have had since the world was a world. And again: My dreams are like your vigils. And again, toward dawn: My memory, sir, is like a garbage disposal.

A circumference on a blackboard, a rectangular triangle, a rhomb, are forms which we can fully intuit; the same held true with Ireneo for the tempestuous mane of a stallion, a herd of cattle in a pass, the ever-changing flame or the innumerable ash, the many faces of a dead man during the course of a protracted wake. He could perceive I do not know how many stars in the sky.

These things he told me; neither then nor at any time later did they seem doubtful. In those days neither the cinema nor the phonograph yet existed; nevertheless, it seems strange, almost incredible, that no one should have experimented on Funes. The truth is that we all live by leaving behind; no doubt we all profoundly know that we are immortal and that sooner or later every man will do all things and know everything.

The voice of Funes, out of the darkness, continued. He told me that toward 1886 he had devised a new system of enumeration and that in a very few days he had gone before twenty-four thousand. He had not written it down, for what he once meditated would not be erased. The first stimulus to his work, I believe, had been his discontent with the fact that "thirty-three Uruguayans" required two symbols and three words, rather than a single word and a single symbol. Later he applied his extravagant principle to the other numbers. In place of seven thousand thirteen, he would say (for example) Máximo Perez; in place of seven thousand fourteen, The Train; other numbers were Luis Melián Lafinur, Olimar, Brimstone, Clubs, The Whale, Gas, The Cauldron, Napoleon, Agustín de Vedia. In lieu of five hundred, he would say nine. Each word had a particular sign, a species of mark; the last were very complicated. . . . I attempted to explain that this rhapsody of unconnected terms was precisely the contrary of a system of enumeration. I said that to say three hundred and sixty-five was to say three hundreds, six tens, five units: an analysis which does not exist in such numbers as The Negro Timoteo or The Flesh Blanket. Funes did not understand me, or did not wish to understand me.

Locke, in the seventeenth century, postulated (and rejected) an impossible idiom in which each individual object, each stone, each bird and branch had an individual name; Funes had once projected an analogous idiom, but he had renounced it as being too general, too ambiguous. In effect, Funes not only remembered every leaf on every tree of every wood, but even every one of the times he had perceived or imagined it. He determined to reduce all of his past experience to some seventy thousand recollections, which he would later define numerically. Two considerations dissuaded him: the thought that the task was interminable and the thought that it was useless. He knew that at the hour of his death he would scarcely have finished classifying even all the memories of his childhood.

The two projects I have indicated (an infinite vocabulary for the natural series of numbers, and a usable mental catalogue of all the images of memory) are lacking in sense, but they reveal a certain stammering greatness. They allow us to make out dimly, or to infer, the dizzying world of Funes. He was, let us not forget, almost incapable of general, platonic ideas. It was not only difficult for him to understand that the generic term dog embraced so many unlike specimens of differing sizes and different forms; he was disturbed by the fact that a dog at three-fourteen (seen in profile) should have the same name as the dog at three-fifteen (seen from the front). His own face in the mirror, his own hands, surprised him on every occasion. Swift writes that the emperor of Lilliput could discern the movement of the minute hand; Funes could continuously make out the tranquil advances of corruption, of caries, of fatigue. He noted the progress of death, of moisture. He was the solitary and lucid spectator of a multiform world which was instantaneously and almost intolerably exact. Babylon, London, and New York have overawed the imagination of men with their ferocious splendour; no one, in those populous towers or upon those surging avenues, has felt the heat and pressure of a reality as indefatigable as that which day and night converged upon the unfortunate Ireneo in his humble South American farmhouse. It was very difficult for him to sleep. To sleep is to be abstracted from the world; Funes, on his back in his cot, in the shadows, imagined every crevice and every moulding of the various houses which surrounded him. (I repeat, the least important of his recollections was more minutely precise and more lively than our perception of a physical pleasure or a physical torment.) Toward the east, in a section which was not yet cut into blocks of homes, there were some new unknown houses. Funes imagined them black, compact, made of a single obscurity; he would turn his face in this direction in order to sleep. He would also imagine himself at the bottom of the river, being rocked and annihilated by the current.

Without effort, he had learned English, French, Portuguese, Latin. I suspect, nevertheless, that he was not very capable of thought. To think is to forget a difference, to generalize, to abstract. In the overly replete world of Funes there were nothing but details, almost contiguous details.

The equivocal clarity of dawn penetrated along the earthen patio.

Then it was that I saw the face of the voice which had spoken all through the night. Ireneo was nineteen years old; he had been born in 1868; he seemed as monumental as bronze, more ancient than Egypt, anterior to the prophecies and the pyramids. It occurred to me that each one of my words (each one of my gestures) would live on in his implacable memory; I was benumbed by the fear of multiplying superfluous gestures.

Ireneo Funes died in 1889, of a pulmonary congestion.

[Cupke_pe_Korce]

Perhaps, in his dreams, he was not that bookish guy we all know.

The South

The man who landed in Buenos Aires in 1871 bore the name of Johannes Dahlmann and he was a minister in the Evangelical Church. In 1939, one of his grandchlidren, Juan Dahlmann, was secretary of a municipal library on Calle Cordoba, and he considered himself profoundly Argentinian. His maternal grandfather had been that Francisco Flores, of the Second Line-Infantry Division, who had died on the frontier of Buenos Aires, run through with a lance by Indians from Catriel; in the discord inherent betweeh his two lines of descent, Juan Dahlmann (perhaps driven to it by his Germanic blood) chose the line represented by his romantic ancestor, his ancestor of the romantic death. An old sword, a leather frame containing the daguerreotype of a blank-faced man with a beard, the dash and grace of certin music, the familiar strophes of Martin Fierro, the passing years, boredom and solitude, all went to foster this voluntary, but never ostentatioous nationalism. At the cost of numerous small privations, Dahlmann had managed to save the empty shell of a ranch in the South which had belonged to the Flores family; he continually recalled the image of the balsamic eucalyptus trees and the great rose-colored house which had once been crimson. His duties, perhaps even indolence, kept him in the city. Summer after summer he contented himself with the abstract idea of possession and with the certitude that his ranch was waiting for him on a precise site in the middle of the plain. Late in February, 1939, something happened to him. Blind to all fault, destiny can be ruthless at one's slightest distraction. Dahlmann had succeeded in acquiring, on that very afternoon, an imperfect copy of Weil's edition of The Thousand and One Nights. Avid to examine this find, he did not wait for the elevator but hurried up the stairs. In the obscurity, something brushed by his forehead: a bat, a bird? On the face of the woman who opened the door to him he saw horror engraved, and the hand he wiped across his face came away red with blood. The edge of a recently painted door which someone had forgotten to close had caused this wound. Dahlmann was able to fall asleep, but from the moment he awoke at dawn the savor of all things was atrociously poignant. Fever wasted him and the pictures in The Thousand and One Nights served to illustrate nightmares. Friends and relatives paid him visits and, with exaggerated smiles, assured him that they thought he looked fine. Dahlmann listened to them with a kind of feeble stupor and he marveled at their not knowing that he was in hell. A week, eight days passed, and they were like eight centuries. One afternoon, the usual doctor appeared, accompanied by a new doctor, and they carried him off to a sanitarium on the Calle Ecuador, for it was necessary to X-ray him. Dahlmann, in the hackney coach which bore them away, thought that he would, at last, be able to sleep in a room different from his own. He felt happy and communicative. When he arrived at his destination, they undressed him, shaved his head, bound him with metal fastenings to a stretcher; they shone bright lights on him until he was blind and dizzy, auscultated him, and a masked man stuck a needle into his arm. He awoke with a feeling of nausea, covered with a bandage, in a cell with something of a well about it; in the days and nights which followed the operation he came to realize that he had merely been, up until then, in a suburb of hell. Ice in his mouth did not leave the least trace of freshness. During these days Dahlmann hated himself in minute detail: he hated his identity, his bodily necessities, his humiliation, the beard which bristled up on his face. He stoically endured the curative measures, which were painful, but when the surgeon told him he had been on the point of death from septicemia, Dahlmann dissolved in tears of self-pity for his fate. Physical wretchedness and the incessant anticipation of horrible nights had not allowed him time to think of anything so abstact as death. On another day, the surgeon told him he was healing and that, very soon, he would be able to go to his ranch for convalescence. Incredibly enough, the promised day arrived. Reality favors symmetries and slight anachronisms: Dahlmann had arrived at the sanitarium in a hackney coach and now a hackney coach was to take him to the Constitucion station. The first fresh tang of autumn, after the summer's oppressiveness, seemed like a symbol in nature of his rescue and release from fever and death. The city, at seven in the morning, had not lost that air of an old house lent it by the night; the streets seemed like long vestibules, the plazas were like patios. Dahlmann recognized the city with joy on the edge of vertigo: a second before his eyes registered the phenomena themselves, he recalled the corners, the billboards, the modest variety of Buenos Aires. In the yellow light of the new day, all things returned to him. Every Argentine knows that the South begins at the other side of Rivadavia. Dahlmann was in the habit of saying that this was no mere convention, that whoever crosses this street enters a more ancient and sterner world. From inside the carriage he sought out, among the new buildings, the iron grill window, the brass knocker, the arched door, the entrance way, the intimate patio. At the railroad station he noted that he still had thirty minutes. He quickly recalled that in a cafe on the Calle Brazil (a few dozen feet from Yrigoyen's house) there was an enormous cat which allowed itself to be caressed as if it were a disdainful divinity. He entered the cafe. There was the cat, asleep. He ordered a cup of coffee, slowly stirred the sugar, sipped it (this pleasure had been denied him in the clinic), and thought, as he smoothed the cat's black coat, that this contact was an illusion and that the two beings, man and cat, were as good as separated by a glass, for man lives in time, in succession, while the magical animal lives in the present, in the eternity of the instant. Along the next to the last platform the train lay waiting. Dahlmann walked through the coaches until he found one almost empty. He arranged his baggage in the network rack. When the train started off, he took down his valise and extracted, after some hesitation, the first volume of The Thousand and One Nights. To travel with this book, which was so much a part of the history of his ill-fortune, was a kind of affirmation that his ill-fortune had been annulled; it was a joyous and secret defiance of the frustrated forces of evil. Along both sides of the train the city dissipated into suburbs; this sight, and then a view of the gardens and villas, delayed the beginning of his reading. The truth was that Dahlmann read very little. The magnetized mountain and the genie who swore to kill his benefactor are - who would deny it? - marvelous, but not so much more than the morning itself and the mere fact of being. The joy of life distracted him from paying attention to Scheherezade and her superfluous miracles. Dahlmann closed his book and allowed himself to live. Lunch - the bouillon served in shining metal bowls, as in the remote summers of childhood - was one more peaceful and rewarding delight. Tomorrow I'll wake up at the ranch, he thought, and it was as if he was two men at a time: the man who traveled through the autumn day and across the geography of the fatherland, and the other one, locked up in a sanitarium and subject to methodical servitude. He saw unplastered brick houses, long and angled, timelessly watching the trains go by; he saw horsemen along the dirt roads; he saw gullies and lagoons and ranches; he saw great luminous clouds that resembled marble; and all these things were accidental, casual, like dreams of the plain. He also thought he recognized trees and crop fields; but he would not have been able to name them, for his actual knowledge of the country side was quite inferior to his nostalgic and literary knowledge. From time to time he slept, and his dreams were animated by the impetus of the train. The intolerable white sun of high noon had already become the yellow sun which precedes nightfall, and it would not be long before it would turn red. The railroad car was now also different; it was not the same as the one which had quit the station siding at Constitucion; the plain and the hours had transfigured it. Outside, the moving shadow of the railroad car stretched toward the horizon. The elemental earth was not perturbed either by settlements or other signs of humanity. The country was vast but at the same time intimate and, in some measure, secret. The limitless country sometimes contained only a solitary bull. The solitude was perfect, perhaps hostile, and it might have occurred to Dahlmann that he was traveiling into the past and not merely south. He was distracted form these considerations by the railroad inspector who, on reading his ticket, advised him that the train would not let him off at the regular station but at another: an earlier stop, one scarcely known to Dahlmann. (The man added an explanation which Dahlmann did not attempt to understand, and which he hardly heard, for the mechanism of events did not concern him.) The train laboriously ground to a halt, practically in the middle of the plain. The station lay on the other side of the tracks; it was not much more than a siding and a shed. There was no means of conveyance to be seen, but the station chief supposed that the traveler might secure a vehicle from a general store and inn to be found some ten or twelve blocks away. Dahlmann accepted the walk as a small adventure. The sun had already disappeared from view, but a final splendor, exalted the vivid and silent plain, before the night erased its color. Less to avoid fatigue than to draw out his enjoyment of these sights, Dahmann walked slowly, breathing in the odor of clover with sumptuous joy. The general store at one time had been painted a deep scarlet, but the years had tempered this violent color for its own good. Something in its poor architecture recalled a steel engraving, perhaps one from an old edition of Paul et Virginie. A number of horses were hitched up to the paling. Once inside, Dahlmann thought he recognized the shopkeeper. Then he realized that he had been deceived by the man's resemblance to one of the male nurses in the sanitarium. When the shopkeeper heard Dahlmann's request, he said he would have the shay made up. In order to add one more event to that day and to kill time, Dahlmann decided to eat at the general store. Some country louts, to whom Dahlmann did not at first pay any attention, were eating and drinking at one of the tables. On the floor, and hanging on to the bar, squatted an old man, immobile as an object. His years had reduced and polished him as water does a stone or the generations of men do a sentence. He was dark, dried up , diminutive, and seemed outside time, situated in eternity. Dahlmann noted with satisfaction the kerchief, the thick poncho, the long chiripa, and the colt boots, and told himself, as he recalled futile discussions with people from the Northern counties or from the province of Entre Rios, that gauchos like this no longer existed outside the South. Dahlmann sat down next to the window. The darkness began overcoming the plain, but the odor and sound of the earth penetrated the iron bars of the window. The shop owner brought him sardines, followed by some roast meat. Dahlmann washed the meal down with several glasses of red wine. Idling, he relished the tart savor of the wine, and let his gaze, now grown somewhat drowsy, wander over the shop. A kerosene lamp hung from a beam. There were three customers at the other table: two of them appeared to be farm workers; the third man, whose features hinted at Chinese blood, was drinking with his hat on. Of a sudden, Dahlmann felt something brush lightly against his face. Next to the heavy glass of turbid wine, upon one of the stripes in the table cloth, lay a spit ball of breadcrumb. That was all: but someone had throuwn it there. The men at the other table seemed totally cut off from him. Perplexed, Dahlmann decided that nothing had happened, and he opened the volume of The Thousand and One Nights, by way of suppressing reality. After a few moments another little ball landed on his table, and now the peones laughed outright. Dahlmann said to himself that he was not frightened, but he reasoned that it would be a major blunder if he, a convalescent, were to allow himself to be dragged by strangers into some chaotic quarrel. He determined to leave, and had already gotten to his feet when the owner came up and exhorted him in an alarmed voice: "Senor Dahlmann, don't pay any attention to those lads; they're half high." Dahlmann was not surprised to learn that the other man, now, knew his name. But he felt that these conciliatory words served only to aggravate the situation. Previous to the moment, the peones' provocation was directed againt an unknown face, against no one in particular, almost againt no one at all. Now it was an attack against him, against his name, and his neighbors knew it. Dahlmann pushed the owner aside, confronted the peones, and demanded to know what they wanted of him. The tough with a Chinese look staggered heavily to his feet. Almost in Juan Dahlmann's face he shouted insults, as if he had been a long way off. He game was to exaggerate constituted ferocious mockery. Between curses and obscenities, he threw a long knife into the air, followed it with his eyes, caught and juggled it, and challenged Dahlmann to a knife fight. The owner objected in a tremulous voice, pointing out that Dahlmann was unarmed. At this point, something unforeseeable occurred. From a corner of the room, the old ecstatic gaucho - in whom Dahlmann saw a summary and cipher of the South (his South) - threw him a naked dagger, which landed at his feet. It was as if the South had resolved that Dahlmann should accept the duel. Dahlmann bent over to pick up the dagger, and felt two things. The first, that this almost instinctive act bound him to fight. The second, that the weapon, in his torpid hand, was no defense at all, but would merely serve to justify his murder. He had once played with a poniard, like all men, but his idea of fencing and knife-play did not go further than the notion that all strokes should be directed upwards, with the cutting edge held inwards. They would not have allowed such things ot happen to me in the sanitarium, he thought. "Let's get on our way," said that other man. They went out and if Dahlmann was without hope, he was also without fear. As he crossed the threshold, he felt that to die in a knife fight, under the open sky, and going forward to the attack, would have been a liberation, a joy, and a festive occasion, on the first night in the sanitarium, when they stuck him with the needle. He felt that if he had been able to choose, then, or to dream his death, this would have been the death he would have chosen or dreamt. Firmly clutching his knife, which he perhaps would not know how to wield, Dahlmann went out into the plain.

[ATMAN]

http://usuarios.lycos.es/elpoeta/borges/foto.jpg


Tra i massimi geni letterari del Novecento, l'argentino Jorge Luis Borges nacque il 24 agosto 1899 a Buenos Aires. I principali eventi biografici di Borges sono legati alla famiglia e si identificano con i destini dei suoi antenati. Da una genealogia di studiosi e militari Borges eredita l'amore totale per la letteratura e il rimpianto per la sua mancata carriera nell'esercito. Dal 1914 al 1921 segue i suoi genitori in Europa. Frequenta gli studi a Ginevra e in Spagna, dove viene a contatto con l'avanguardia letteraria e scrive le prime poesie.

Nel 1923 viene pubblicato il suo primo libro di poesia, "Fervor de Buenos Aires", seguito a distanza di due anni dal secondo libro di versi, "Luna de Enfrente". E' nel 1925 che Borges incontra Victoria Ocampo, la musa che riuscirà a sposare quarant'anni dopo. Con lei stabilisce un'intesa intellettuale destinata a entrare nella mitologia della letteratura argentina. L'attività pubblicistica di Borges è infaticabile. I versi di "Cauderno San Martìn" escono nel 1929, mentre un anno dopo viene pubblicato l'"Evaristo Carriego", che entusiasma la critica argentina.

Ma una spada di Damocle incombe sul povero scrittore argentino: la cecità. Borges, che non ha mai goduto di una buona vista, diverrà totalmente cieco a partire dalla fine degli anni '50, non prima di aver visitato la sala operatoria per ben nove volte. Ma questa orrenda malattia viene da lui sorprendentemente utilizzata in senso creativo, la sua potenza visionaria riesce a sfruttare il terribile male, volgendolo in metafora e in materia letteraria. Il culmine di questo processo di "sublimazione" si ha fra il 1933 e il 1934, quando sul piano letterario Borges dà vita a trame che utilizzano la storia come menzogna, come falso, plagio, parodia universale.

Vengono raccolti i racconti pubblicati sulla rivista "Crìtica": è la genesi della "Historia universal de la infamia", seguita dalla "Historia de la eternidad", dove Storia e Sapere flirtano per produrre l'improbabile e l'esotico risultato di un trattato degno di un demiurgo impazzito. Annus horribilis: il 1938. Muore l'amatissimo padre di Borges e lo scrittore stesso ha un incidente che lo costringe per parecchio tempo all'immobilità, dopo un attacco di setticemia che ne minaccia gravemente la vita.

Questa drammatica situazione provoca in Borges il terrore di una perdita totale di creatività. Nulla di più falso: negli anni della malattia lo scrittore argentino concepisce alcuni tra i suoi capolavori, che vengono raccolti e pubblicati nel 1944 con il titolo di "Finzioni".
A distanza di cinque anni escono anche i racconti di "Aleph".
A questo punto, Borges è uno dei maggiori scrittori argentini di tutti i tempi.
Virtuosista di razza, conferma la sua fama scendendo sul piano della saggistica pura, con le sue celebri "Altre inquisizioni" (1952).

Nel 1955 Borges viene nominato direttore della Biblioteca Nazionale, ciò che aveva sempre sognato di fare. Con spirito eminentemente borgesiano, lo scrittore commenta così la nomina: "E' una sublime ironia divina ad avermi dotato di ottocentomila libri e, al tempo stesso, delle tenebre". E' l'inizio di un lungo e fecondissimo tramonto, nonostante la morte avvenga molto più tardi, il 14 giugno 1986. Accanto a Borges è la sua seconda moglie, l'amatissima Marìa Kodama.

Alla sua vita si sono ispirati diversi registi argentini; ne citiamo uno su tutti, in cui la protagonista è la bella Ines Sastre: "Estela Canto, Um Amor de Borges", di Javier Torre (1999).

[StormAngel]

The Art of Poetry

To gaze at a river made of time and water
and remember Time is another river.
To know we stray like a river
and our faces vanish like water.

To feel that waking is another dream
that dreams of not dreaming and that the death
we fear in our bones is the death
that every night we call a dream.

To see in every day and year a symbol
of all the days of man and his years,
and convert the outrage of the years
into a music, a sound, and a symbol.

To see in death a dream, in the sunset
a golden sadnesssuch is poetry,
humble and immortal, poetry,
returning, like dawn and the sunset.

Sometimes at evening there's a face
that sees us from the deeps of a mirror.
Art must be that sort of mirror,
disclosing to each of us his face.

They say Ulysses, wearied of wonders,
wept with love on seeing Ithaca,
humble and green. Art is that Ithaca,
a green eternity, not wonders.

Art is endless like a river flowing,
passing, yet remaining, a mirror to the same
inconstant Heraclitus, who is the same
and yet another, like the river flowing.

Jorge Luis Borges