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By Jorge Luis Borges

Borges On Writing

In 1971, Jorge Luis Borges used to be invited to preside over a chain of seminars on his writing at Columbia collage. This e-book is a list of these seminars, which took the shape of casual discussions among Borges, Norman Thomas di Giovanni--his editor and translator, Frank MacShane--then head of the writing application at Columbia, and the scholars. Borges's prose, poetry, and translations are dealt with individually and the booklet is split accordingly.

The prose seminar relies on a line-by-line dialogue of 1 of Borges's such a lot special tales, "The finish of the Duel." Borges explains how he wrote the tale, his use of neighborhood wisdom, and his attribute approach to referring to violent occasions in an exact and ironic method. This shut research of his tools produces a few illuminating observations at the function of the author and the functionality of literature.

The poetry part starts with a few normal comments via Borges at the want for shape and constitution and strikes right into a revealing research of 4 of his poems. the ultimate part, on translation, is an exhilarating dialogue of ways the paintings and tradition of 1 kingdom could be "translated" into the language of another.

This ebook is a tribute to the intense craftsmanship of 1 of South America's--indeed, the world's--most unique writers and offers worthy perception into his concept and his method.

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Borges: But the story itself is the answer to what he saw in the anecdote, isn’t it? di giovanni:  It should be, but perhaps I failed and then it needs another answer or a postscriptum. Personally, do you find the story too trivial or too flat? borges: question: No, I find it horrifying. Well, it’s meant to be horrifying or what we used to call hard-boiled, and in order to make it horrifying I left the horror to the reader’s imagination. I couldn’t very well say, “What an awful thing happened,” or “This story is very gruesome,” because I would make a fool of myself.

Di giovanni  Perhaps they’re all fast asleep by now. (To Frank MacShane) Why don’t you say something? What are your chief objections to it? borges: My question about this story and others like it that are based on fact is how you expand particular details . . mac shane: What you’re going to say is that I should have made those two characters quite different, but I don’t think that two gauchos can be very different. They’re just primitive folk. I couldn’t have made them more complicated because that would have spoiled the story.

Yes, I have always been obsessed by time. borges: We’ve had questions about the writer and his responsibility to his time and questions about reality and dreams. There’s a line in “Pedro Salvadores,” and I wonder whether it explains your point of view. question: borges: If I could remember the line it would help me. It says, “. . he had no particular thoughts, not even of his hatred or his danger. ” question:  I thought of Pedro Salvadores as a simple-minded man. I wonder if it might interest you to know that I met his grandson two months ago.

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