Borges: The Passion of an Endless Quotation (Suny Series in Latin American and Iberian Thought and Culture)
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Borges cites innumerable authors in the pages making up his life s work, and innumerable authors have cited and continue to cite him. More than a figure, then, the quotation is an integral part of the fabric of his writing, a fabric made anew by each reading and each re-citation it undergoes, in the never-ending throes of a work-in-progress. Block de Behar makes of this reading a plea for the very art of communication; a practice that takes community not in the totalized and totalizable soil of pre-established definitions or essences, but on the ineluctable repetitions that constitute language as such, and that guarantee the expansiveness through etymological coincidences of meaning, through historical contagions, through translinguistic sharings of particular experiences of a certain index of universality."
their echoes, reuniting the extremes. When one mentions to him such a determination, he is also delighted by the specular coincidences of his name and its literary consequences. Different from other “read readers” (subject and object of reading, who read and are read),35 the characters of “The Gospel According to Mark” are not properly readers because, assigning all privilege to the voice, they do not observe the silent condition of reading. Double error: neither voice of presence nor silence of
his formulations concerning “Possible Worlds.” Published repeatedly in articles,8 re-elaborated in Lector in fabula,9 it constitutes a notion about which he continues to speculate in his more recent books.10 The expression “possible worlds” was originally formulated by Leibniz, who introduced it into philosophy as the divine act of giving existence to a real world, one which God chooses among the numerous possible worlds created by His providential mind,11 and God felt himself free not to create
that scarce reality of reality that is ours, the truth that is ever less convincing, conditioned ever more by a plurality that puts in evidence the dangerous limits of a unique truth. A hypothesis, a supposition, in both expressions is revealed—from the (in)formation of the word—an operation that lies beneath the text. To suppose means to interpret; to interpret, a way of understanding (entender). I do not believe that “understand” in English is associated with this hypothetical position
story was in fact incredible, but it imposed itself on everyone, because substantially it was true. The tone of Emma Zunz was true, the modesty true, the hatred true. True as well was the outrage she had suffered; only the circumstances were false, the time and one or two proper names.”66 162 Borges Nevertheless, he is the author of a book that orders the itineraries of its voyages according to country, place. An Atlas? 67 Borges? It would seem unlikely, however, and without giving greater
1980 Paul Virilio began to speak of an aesthetics of disappearance.33 More than forty years earlier, the year in which Walter Benjamin committed suicide, Borges, in the story “Tlön, Uqbar, Orbis Tertius,” and Bioy Casares, in The Invention of Morel34—”a perfect novel”35 that crosses paths with that story—anticipated in a literary way that aesthetics of disappearance. A multiplied disappearance that the concentration universe would cast into the abyss, the endless precipice, that fall. “Impossible