Short Stories of Jorge Luis Borges - The Giovanni Translations

by Jorge Luis Borges (trans. by N. T. di Giovanni)

  “Maybe so. What would you do in my shoes?”

  “I don’t know, but my own life isn’t exactly a model. I’m only a guy who became a party strong-arm man trying to cheat a jail sentence.”

  “I’m not going to the strong-arm guy for any party, I’m only out to settle a debt.”

  “So you’re going to risk your peace and quiet for a man you don’t know and a woman you don’t love any more?”

  He wouldn’t hear me out. He just left. The next day the news came that he challenged Rufino in a saloon in Morón, and Rufino killed him. He was out to kill, and he got killed—but a fair fight, man to man. I’d given him my honest advice as a friend, but somehow I felt guilty just the same.

  A few days after the wake, I went to a cockfight. I’d never been very big on cockfights, and that Sunday, to tell the truth, I had all I could do to stomach the thing. What is it in these animals, I kept thinking, that makes them gouge each other’s eyes like that?

  The night of my story, the night of the end of my story, I had told the boys I’d show up at Blackie’s for the dance. So many years ago now, and that dress with the flowers my woman was wearing still comes back to me. The party was out in the backyard. Of course, there was the usual drunk or two trying to raise hell, but I took good care to see that things went off the way they ought to. It wasn’t twelve yet when these strangers put in an appearance. One of them— the one they called the Butcher and who got himself stabbed in the back that same night—stood us all to a round of drinks. The odd thing was that the two of us looked a lot alike. Something was in the air; he drew up to me and began praising me up and down. He said he was from the Northside, where he’d heard a thing or two about me. I let him go on, but I was already sizing him up. He wasn’t letting the gin alone, either, maybe to work up his courage, and finally he came out and asked me to fight. Then something happened that nobody ever understood. In that big loudmouth I saw myself, the same as in a mirror, and it made me feel ashamed. I wasn’t scared; maybe if I’d been scared I’d have fought with him. I just stood there as if nothing happened. This other guy, with his face just inches away from mine, began shouting so everyone could hear, “The trouble is you’re nothing but a coward.”

  “Maybe so,” I said. “I’m not afraid of being taken for a coward. If it makes you feel good, why don’t you say you’ve called me a son of a bitch, too, and that I’ve let you spit all over me. Now—are you any happier?”

  La Lujanera took out the knife I always carried in my vest lining and, burning up inside, she shoved it into my hand. To clinch it, she said, “Rosendo, I think you’re going to need this.” I let it drop and walked out, but not hurrying. The boys made way for me. They were stunned. What did it matter to me what they thought.

  To make a clean break with that life, I took off for Uruguay, where I found myself work as a teamster. Since coming back to Buenos Aires I’ve settled around here. San Telmo always was a respectable neighborhood.

  An Autobiographical Essay

  — With Norman Thomas di Giovanni

  Family and Childhood

  I cannot tell whether my first memories go back to the eastern or to the western bank of the muddy, slow-moving Río de la Plata—to Montevideo, where we spent long, lazy holidays in the villa of my uncle Francisco Haedo, or to Buenos Aires. I was born there, in the very heart of that city, in 1899, on Tucumán Street, between Suipacha and Esmeralda, in a small, unassuming house belonging to my maternal grandparents. Like most of the houses of that day, it had a flat roof; a long, arched entranceway, called a zaguán; a cistern, where we got our water; and two patios. We must have moved out to the suburb of Palermo quite soon, because there I have my first memories of another house with two patios, a garden with a tall windmill pump, and, on the other side of the garden, an empty lot. Palermo at that time—the Palermo where we lived, Serrano and Guatemala—was on the shabby northern outskirts of town, and many people, ashamed of saying they lived there, spoke in a dim way of living on the Northside. We lived in one of the few two-story homes on our street; the rest of the neighborhood was made up of low houses and vacant lots. I have often spoken of this area as a slum, but I do not quite mean that in the American sense of the word. In Palermo lived shabby, genteel people as well as more undesirable sorts. There was also a Palermo of hoodlums, called compadritos, famed for their knife fights, but this Palermo was only later to capture my imagination, since we did our best—our successful best—to ignore it. Unlike our neighbor Evaristo Carriego, however, who was the first Argentine poet to explore the literary possibilities that lay there at hand. As for myself, I was hardly aware of the existence of compadritos, since I lived essentially indoors.

  My father, Jorge Guillermo Borges, worked as a lawyer. He was a philosophical anarchist—a disciple of Spencer— and also a teacher of psychology at the Normal School for Modern Languages, where he gave his course in English, using as his text William James’s shorter book of psychology. My father’s English came from the fact that his mother, Frances Haslam, was born in Staffordshire of Northumbrian stock. A rather unlikely set of circumstances brought her to South America. Fanny Haslam’s elder sister married an Italian-Jewish engineer named Jorge Suárez, who brought the first horse-drawn tramcars to Argentina, where he and his wife settled and sent for Fanny. I remember an anecdote concerning this venture. Suárez was a guest at General Urquiza’s “palace” in Entre Ríos, and very improvidently won his first game of cards with the General, who was the stern dictator of that province and not above throat-cutting. When the game was over, Suárez was told by alarmed fellow-guests that if he wanted the license to run his tramcars in the province, it was expected of him to lose a certain amount of gold coins each night. Urquiza was such a poor player that Suárez had a great deal of trouble losing the appointed sums.

  It was in Paraná, the capital city of Entre Ríos, that Fanny Haslam met Colonel Francisco Borges. This was in 1870 or 1871, during the siege of the city by the montoneros, or gaucho militia, of Ricardo López Jordán. Borges, riding at the head of his regiment, commanded the troops defending the city. Fanny Haslam saw him from the flat roof of her house; that very night a ball was given to celebrate the arrival of the government relief forces. Fanny and the Colonel met, danced, fell in love, and eventually married.

  My father was the younger of two sons. He had been born in Entre Ríos and used to explain to my grandmother, a respectable English lady, that he wasn’t really an Entrerriano, since “I was begotten on the pampa.” My grandmother would say, with English reserve, “I’m sure I don’t know what you mean.” My father’s words, of course, were true, since my grandfather was, in the early 1870’s, Commander-in-Chief of the northern and western frontiers of the Province of Buenos Aires. As a child, I heard many stories from Fanny Haslam about frontier life in those days. One of these I set down in my “Story of the Warrior and the Captive.” My grandmother had spoken with a number of Indian chieftains, whose rather uncouth names were, I think, Simón Coliqueo, Catriel, Pincén, and Namuncurá. In 1874, during one of our civil wars, my grandfather, Colonel Borges, met his death. He was fortyone at the time. In the complicated circumstances surrounding his defeat at the battle of La Verde, he rode out slowly on horseback, wearing a white poncho and followed by ten or twelve of his men, toward the enemy lines, where he was struck by two Remington bullets. This was the first time Remington rifles were used in the Argentine, and it tickles my fancy to think that the firm that shaves me every morning bears the same name as the one that killed my grandfather.

  Fanny Haslam was a great reader. When she was over eighty, people used to say, in order to be nice to her, that nowadays there were no writers who could vie with Dickens and Thackeray. My grandmother would answer, “On the whole, I rather prefer Arnold Bennett, Galsworthy, and Wells.” When she died, at the age of ninety, in 1935, she called us to her side and said, in English (her Spanish was fluent but poor), in her thin voice, “I am only an old woman dying very, very slowly. There is not
hing remarkable or interesting about this.” She could see no reason whatever why the whole household should be upset, and she apologized for taking so long to die.

  My father was very intelligent and, like all intelligent men, very kind. Once, he told me that I should take a good look at soldiers, uniforms, barracks, flags, churches, priests, and butcher shops, since all these things were about to disappear, and I could tell my children that I had actually seen them. The prophecy has not yet come true, unfortunately. My father was such a modest man that he would have liked being invisible. Though he was very proud of his English ancestry, he used to joke about it, saying with feigned perplexity, “After all, what are the English? Just a pack of German agricultural laborers.” His idols were Shelley, Keats, and Swinburne. As a reader, he had two interests. First, books on metaphysics and psychology (Berkeley, Hume, Royce, and William James). Second, literature and books about the East (Lane, Burton, and Payne). It was he who revealed the power of poetry to me—the fact that words are not only a means of communication but also magic symbols and music. When I recite poetry in English now, my mother tells me I take on his very voice. He also, without my being aware of it, gave me my first lessons in philosophy. When I was still quite young, he showed me, with the aid of a chessboard, the paradoxes of Zeno— Achilles and the tortoise, the unmoving flight of the arrow, the impossibility of motion. Later, without mentioning Berkeley’s name, he did his best to teach me the rudiments of idealism.

  My mother, Leonor Acevedo de Borges, comes of old Argentine and Uruguayan stock, and at ninety-four is still hale and hearty and a good Catholic. When I was growing up, religion belonged to women and children; most men in Buenos Aires were freethinkers—though, had they been asked, they might have called themselves Catholics. I think I inherited from my mother her quality of thinking the best of people and also her strong sense of friendship. My mother has always had a hospitable mind. From the time she learned English, through my father, she has done most of her reading in that language. After my father’s death, finding that she was unable to keep her mind on the printed page, she tried her hand at translating William Saroyan’s The Human Comedy in order to compel herself to concentrate. The translation found its way into print, and she was honored for this by a society of Buenos Aires Armenians. Later on, she translated some of Hawthorne’s stories and one of Herbert Read’s books on art, and she also produced some of the translations of Melville, Virginia Woolf, and Faulkner that are considered mine. She has always been a companion to me—especially in later years, when I went blind—and an understanding and forgiving friend. For years, until recently, she handled all my secretarial work, answering letters, reading to me, taking down my dictation, and also traveling with me on many occasions both at home and abroad. It was she, though I never gave a thought to it at the time, who quietly and effectively fostered my literary career.

  Her grandfather was Colonel Isidoro Suárez, who, in 1824, at the age of twenty-four, led a famous charge of Peruvian and Colombian cavalry, which turned the tide of the battle of Junín, in Peru. This was the next to last battle of the South American War of Independence. Although Suárez was a second cousin to Juan Manuel de Rosas, who ruled as dictator in Argentina from 1835 to 1852, he preferred exile and poverty in Montevideo to living under a tyranny in Buenos Aires. His lands were, of course, confiscated, and one of his brothers was executed. Another member of my mother’s family was Francisco de Laprida, who, in 1816, in Tucumán, where he presided over the Congress, declared the independence of the Argentine Confederation, and was killed in 1829 in a civil war. My mother’s father, Isidoro Acevedo, though a civilian, took part in the fighting of yet other civil wars in the 1860’s and 1880’s. So, on both sides of my family, I have military forebears; this may account for my yearning after that epic destiny which my gods denied me, no doubt wisely.

  I have already said that I spent a great deal of my boyhood indoors. Having no childhood friends, my sister and I invented two imaginary companions, named, for some reason or other, Quilos and The Windmill. (When they finally bored us, we told our mother that they had died.) I was always very nearsighted and wore glasses, and I was rather frail. As most of my people had been soldiers—even my father’s brother had been a naval officer—and I knew I would never be, I felt ashamed, quite early, to be a bookish kind of person and not a man of action. Throughout my boyhood, I thought that to be loved would have amounted to an injustice. I did not feel I deserved any particular love, and I remember my birthdays filled me with shame, because everyone heaped gifts on me when I thought that I had done nothing to deserve them—that I was a kind of fake. After the age of thirty or so, I got over the feeling.At home, both English and Spanish were commonly used. If I were asked to name the chief event in my life, I should say my father’s library. In fact, I sometimes think I have never strayed outside that library. I can still picture it. It was in a room of its own, with glass-fronted shelves, and must have contained several thousand volumes. Being so nearsighted, I have forgotten most of the faces of that time (perhaps even when I think of my grandfather Acevedo I am thinking of his photograph), and yet I vividly remember so many of the steel engravings in Chambers’s Encyclopædia and in the Britannica. The first novel I ever read through was Huckleberry Finn. Next came Roughing It and Flush Days in California. I also read books by Captain Marryat, Wells’s First Men in the Moon, Poe, a one-volume edition of Longfellow, Treasure Island, Dickens, Don Quixote, Tom Brown’s School Days, Grimms’ Fairy Tales, Lewis Carroll, The Adventures of Mr Verdant Green (a now forgotten book), Burton’s A Thousand Nights and a Night. The Burton, filled with what was then considered obscenity, was forbidden, and I had to read it in hiding up on the roof. But at the time, I was so carried away with the magic that I took no notice whatever of the objectionable parts, reading the tales unaware of any other significance. All the foregoing books I read in English. When later I read Don Quixote in the original, it sounded like a bad translation to me. I still remember those red volumes with the gold lettering of the Garnier edition. At some point, my father’s library was broken up, and when I read the Quixote in another edition I had the feeling that it wasn’t the real Quixote. Later, I had a friend get me the Gamier, with the same steel engravings, the same footnotes, and also the same errata. All those things form part of the book for me; this I consider the real Quixote.

  In Spanish, I also read many of the books by Eduardo Gutiérrez about Argentine outlaws and desperadoes—Juan Moreira foremost among them—as well as his Siluetas militares, which contains a forceful account of Colonel Borges’ death. My mother forbade the reading of Martín Fierro, since that was a book fit only for hoodlums and schoolboys and, besides, was not about real gauchos at all. This too I read on the sly. Her feelings were based on the fact that Hernández had been an upholder of Rosas and therefore an enemy to our Unitarian ancestors, I read also Sarmiento’s Facundo, many books on Greek mythology, and later Norse. Poetry came to me through English—Shelley, Keats, FitzGerald, and Swinburne, those great favorites of my father, who could quote them voluminously, and often did.

  A tradition of literature ran through my father’s family. His great-uncle Juan Crisóstomo Lafinur was one of the first Argentine poets, and he wrote an ode on the death of his friend General Manuel Belgrano, in 1820. One of my father’s cousins, Álvaro Melián Lafinur, whom I knew from childhood, was a leading minor poet and later found his way into the Argentine Academy of Letters. My father’s maternal grandfather, Edward Young Haslam, edited one of the first English papers in Argentina, the Southern Cross, and was a Doctor of Philosophy or Letters, I’m not sure which, of the University of Heidelberg. Haslam could not afford Oxford or Cambridge, so he made his way to Germany, where he got his degree, going through the whole course in Latin. Eventually, he died in Paraná. My father wrote a novel, which he published in Majorca in 1921, about the history of Entre Ríos. It was called The Caudillo. He also wrote (and destroyed) a book of essays, and published a translation of FitzGera
ld’s Omar Khayyám in the same meter as the original. He destroyed a book of Oriental stories—in the manner of the Arabian Nights—and a drama, Hacia la nada (Toward Nothingness), about a man’s disappointment in his son. He published some fine sonnets after the style of the Argentine poet Enrique Banchs. From the time I was a boy, when blindness came to him, it was tacitly understood that I had to fulfill the literary destiny that circumstances had denied my father. This was something that was taken for granted (and such things are far more important than things that are merely said). I was expected to be a writer.

  I first started writing when I was six or seven. I tried to imitate classic writers of Spanish—Miguel de Cervantes, for example. I had set down in quite bad English a kind of handbook on Greek mythology, no doubt cribbed from Lemprière. This may have been my first literary venture. My first story was a rather nonsensical piece after the manner of Cervantes, an old-fashioned romance called “La visera fatal” (The Fatal Helmet). I very neatly wrote these things into copybooks. My father never interfered. He wanted me to commit all my own mistakes, and once said, “Children educate their parents, not the other way around.” When I was nine or so, I translated Oscar Wilde’s “The Happy Prince” into Spanish, and it was published in one of the Buenos Aires dailies, El País. Since it was signed merely “Jorge Borges,” people naturally assumed the translation was my father’s.

  I take no pleasure whatever in recalling my early schooldays. To begin with, I did not start school until I was nine. This was because my father, as an anarchist, distrusted all enterprises run by the State. As I wore spectacles and dressed in an Eton collar and tie, I was jeered at and bullied by most of my schoolmates, who were amateur hooligans. I cannot remember the name of the school but recall that it was on Thames Street. My father used to say that Argentine history had taken the place of the catechism, so we were expected to worship all things Argentine. We were taught Argentine history, for example, before we were allowed any knowledge of the many lands and many centuries that went into its making. As far as Spanish composition goes, I was taught to write in a flowery way: Aquellos que lucharon por una patria libre, independiente, gloriosa . . . (Those who struggled for a free, independent, and glorious nation . . .). Later on, in Geneva, I was to be told that such writing was meaningless and that I must see things through my own eyes. My sister Norah, who was born in 1901, of course attended a girls’ school.