Short Stories of Jorge Luis Borges - The Giovanni Translations

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

  In 1946, a president whose name I do not want to remember came into power. One day soon after, I was honored with the news that I had been “promoted” out of the library to the inspectorship of poultry and rabbits in the public markets. I went to the City Hall to find out what it was all about. “Look here,” I said. “It’s rather strange that among so many others at the library I should be singled out as worthy of this new position.” “Well,” the clerk answered, “you were on the side of the Allies—what do you expect?” His statement was unanswerable; the next day, I sent in my resignation. My friends rallied round me at once and offered me a public dinner. I prepared a speech for the occasion but, knowing I was too shy to read it myself, I asked my friend Pedro Henríquez Ureña to read it for me.

  I was now out of a job. Several months before, an old English lady had read my tea leaves and had foretold that I was soon to travel, to lecture, and to make vast sums of money thereby. When I told my mother about it, we both laughed, for public speaking was far beyond me. At this juncture, a friend came to the rescue, and I was made a teacher of English literature at the Asociación Argentina de Cultura Inglesa. I was also asked at the same time to lecture on classic American literature at the Colegio Libre de Estudios Superiores. Since this pair of offers was made three months before classes opened, I accepted, feeling quite safe. As the time grew near, however, I grew sicker and sicker. My series of lectures was to be on Hawthorne, Poe, Thoreau, Emerson, Melville, Whitman, Twain, Henry James, and Veblen. I wrote the first one down. But I had no time to write out the second one. Besides, thinking of the first lecture as Doomsday, I felt that only eternity could come after. The first one went off well enough— miraculously. Two nights before the second lecture, I took my mother for a long walk around Adrogué and had her time me as I rehearsed my talk. She said she thought it was overlong. “In that case,” I said, “I’m safe.” My fear had been of running dry. So, at forty-seven, I found a new and exciting life opening up for me. I traveled up and down Argentina and Uruguay, lecturing on Swedenborg, Blake, the Persian and Chinese mystics, Buddhism, gauchesco poetry, Martin Buber, the Kabbalah, the Arabian Nights, T. E. Lawrence, medieval Germanic poetry, the Icelandic sagas, Heine, Dante, expressionism, and Cervantes. I went from town to town, staying overnight in hotels I’d never see again. Sometimes my mother or a friend accompanied me. Not only did I end up making far more money than at the library but I enjoyed the work and felt that it justified me.

  One of the chief events of these years—and of my life— was the beginning of my friendship with Adolfo Bioy Casares. We met in 1930 or 1931, when he was about seventeen and I was just past thirty. It is always taken for granted in these cases that the older man is the master and the younger his disciple. This may have been true at the outset, but several years later, when we began to work together, Bioy was really and secretly the master. He and I attempted many different literary ventures. We compiled anthologies of Argentine poetry, tales of the fantastic, and detective stories; we wrote articles and forewords; we annotated Sir Thomas Browne and Gracián; we translated short stories by writers like Beerbohm, Kipling, Wells, and Lord Dunsany; we founded a magazine, Destiempo, which lasted three issues; we wrote film scripts, which were invariably rejected. Opposing my taste for the pathetic, the sententious, and the baroque, Bioy made me feel that quietness and restraint are more desirable. If I may be allowed a sweeping statement, Bioy led me gradually toward classicism.

  It was at some point in the early forties that we began writing in collaboration—a feat that up to that time I had thought impossible. I had invented what we thought was a quite good plot for a detective story. One rainy morning, he told me we ought to give it a try. I reluctantly agreed, and a little later that same morning the thing happened. A third man, Honorio Bustos Domecq, emerged and took over. In the long run, he ruled us with a rod of iron and to our amusement, and later to our dismay, he became utterly unlike ourselves, with his own whims, his own puns, and his own very elaborate style of writing. Domecq was the name of a great-grandfather of Bioy’s and Bustos of a great-grandfather of mine from Córdoba. Bustos Domecq’s first book was Six Problems for don Isidro Parodi (1942), and during the writing of that volume he never got out of hand. Max Carrados had attempted a blind detective; Bioy and I went one step further and confined our detective to a jail cell. The book was at the same time a satire on the Argentine. For many years, the dual identity of Bustos Domecq was never revealed. When finally it was, people thought that, as Bustos was a joke, his writing could hardly be taken seriously.

  Our next collaboration was another detective novel, A Model for Death. This one was so personal and so full of private jokes that we published it only in an edition that was not for sale. The author of this book we named B. Suárez Lynch. The “B.” stood, I think, for Bioy and Borges, “Suárez” for another great-grandfather of mine, and Lynch for another great-grandfather of Bioy’s. Bustos Domecq reappeared in 1946 in another private edition, this time of two stories, entitled Two Memorable Fantasies. After a long eclipse, Bustos took up his pen again, and in 1967 brought out his Chronicles. These are articles written on imaginary, extravagantly modern artists—architects, sculptors, painters, chefs, poets, novelists, couturiers—by a devotedly modern critic. But both the author and his subjects are fools, and it is hard to tell who is taking in whom. The book is inscribed, “To those three forgotten greats— Picasso, Joyce, Le Corbusier.” The style is itself a parody. Bustos writes a literary journalese, abounding in neologisms, a Latinate vocabulary, clichés, mixed metaphors, non sequiturs, and bombast.

  I have often been asked how collaboration is possible. I think it requires a joint abandoning of the ego, of vanity, and maybe of common politeness. The collaborators should forget themselves and think only in terms of the work. In fact, when somebody wants to know whether such-and-such a joke or epithet came from my side of the table or Bioy’s, I honestly cannot tell him. I have tried to collaborate with other friends—some of them very close ones—but their inability to be blunt on the one hand or thick-skinned on the other has made the scheme impossible. As to the Chronicles of Bustos Domecq, I think they are better than anything I have published under my own name and nearly as good as anything Bioy has written on his own.

  In 1950, I was elected President of the Sociedad Argentina de Escritores (Argentine Society of Writers). The Argentine Republic, then as now, is a soft country, and the S.A.D.E. was one of the few strongholds against the dictatorship. This was so evident that many distinguished men of letters did not dare set foot inside its doors until after the revolution. One curious trait of the dictatorship was that even its professed upholders made it clear that they did not really take the government seriously but were acting out of self-interest. This was understood and forgiven, since most of my countrymen have an intellectual, if not a moral, conscience. Nearly all the smutty jokes made up about Perón and his wife were the invention of Peronistas themselves, trying to save face. The S.A.D.E. was eventually closed. I remember the last lecture I was allowed to give there. The audience, quite a small one, included a very puzzled policeman who did his clumsy best to set down a few of my remarks on Persian Sufism. During this drab and hopeless period, my mother—then in her seventies—was under house arrest. My sister and one of my nephews spent a month in jail. I myself had a detective on my heels, whom I first took on long, aimless walks and at last made friends with. He admitted that he too hated Perón, but said that he was obeying orders. Ernesto Palacio once offered to introduce me to the Unspeakable, but I did not want to meet him. How could I be introduced to a man whose hand I would not shake?

  The long-hoped-for revolution came in September, 1955. After a sleepless, anxious night, nearly the whole population came out into the streets, cheering the revolution and shouting the name of Córdoba, where most of the fighting had taken place. We were so carried away that for some time we were quite unaware of the rain that was soaking us to the bone. We were so happy that not a single word was
even uttered against the fallen dictator. Perón went into hiding, and was later allowed to leave the country. No one knows how much money he got away with.

  Two very dear friends of mine, Esther Zemborain de Torres and Victoria Ocampo, dreamed up the possibility of my being appointed Director of the National Library. I thought the scheme a wild one, and hoped at most to be given the directorship of some small-town library, preferably to the south of the city. Within the space of a day, a petition was signed by the magazine Sur (read Victoria Ocampo), by the reopened S.A.D.E. (read Carlos Alberto Erro), by the Sociedad Argentina de Cultura Inglesa (read Carlos del Campillo), and by the Colegio Libre de Estudios Superiores (read Luis Reissig). This was placed on the desk of the Minister of Education, and eventually I was appointed to the directorship by General Eduardo Lonardi, who was Acting President. A few days earlier, my mother and I had walked to the Library one night to take a look at the building, but, feeling superstitious, I refused to go in. “Not until I get the job,” I said. That same week, I was called to come to the Library to take over. My family was present, and I made a speech to the employees, telling them I was actually the Director—the incredible Director. At the same time, José Edmundo Clemente, who a few years before had managed to persuade Emecé to bring out an edition of my works, became the Assistant Director. Of course, I felt very important, but we got no pay for the next three months. I don’t think my predecessor, who was a Peronista, was ever officially fired. He just never came around to the Library again.

  They named me to the job but did not take the trouble to unseat him. Another pleasure came to me the very next year, when I was named to the professorship of English and American Literature at the University of Buenos Aires. Other candidates had sent in painstaking lists of their translations, papers, lectures, and other achievements. I limited myself to the following statement: “Quite unwittingly, I have been qualifying myself for this position throughout my life.” My plain approach gained the day. I was hired, and spent ten or twelve happy years at the University.

  My blindness had been coming on gradually since childhood. It was a slow, summer twilight. There was nothing particularly pathetic or dramatic about it. Beginning in 1927, I underwent eight eye operations, but since the late 1950’s, when I wrote my “Poem of the Gifts,” for reading and writing purposes I have been blind. Blindness ran in my family; a description of the operation performed on the eyes of my great-grandfather, Edward Young Haslam, appeared in the pages of the London medical journal, the Lancet. Blindness also seems to run among the Directors of the National Library. Two of my eminent forerunners, José Mármol and Paul Groussac, suffered the same fate. In my poem, I speak of God’s splendid irony in granting me at one time 800,000 books and darkness.

  One salient consequence of my blindness was my gradual abandonment of free verse in favor of classical metrics. In fact, blindness made me take up the writing of poetry again. Since rough drafts were denied me, I had to fall back on memory. It is obviously easier to remember verse than prose, and to remember regular verse forms rather than free ones. Regular verse is, so to speak, portable. One can walk down the street or be riding the subway while composing and polishing a sonnet, for rhyme and meter have mnemonic virtues. In these years, I wrote dozens of sonnets and longer poems consisting of eleven-syllable quatrains. I thought I had taken Lugones as my master, but when the verses were written my friends told me that, regrettably, they were quite unlike him. In my later poetry, a narrative thread is always to be found. As a matter of fact, I even think of plots for poems. Perhaps the main difference between Lugones and me is that he held French literature as his model and lived intellectually in a French world, whereas I look to English literature. In this new poetic activity, I never thought of building a sequence of poems, as I always formerly did, but was chiefly interested in each piece for its own sake. In this way, I wrote poems on such different subjects as Emerson and wine, Snorri Sturluson and the hourglass, my grandfather’s death and the beheading of Charles I. I also went in for summing up my literary heroes: Poe, Swedenborg, Whitman, Heine, Camões, Jonathan Edwards, and Cervantes. Due tribute, of course, was also paid to mirrors, the Minotaur, and knives.

  I had always been attracted to the metaphor, and this leaning led me to the study of the simple Saxon kennings and overelaborate Norse ones. As far back as 1932, I had even written an essay about them. The quaint notion of using, as far as it could be done, metaphors instead of straightforward nouns, and of these metaphors’ being at once traditional and arbitrary, puzzled and appealed to me. I was later to surmise that the purpose of these figures lay not only in the pleasure given by the pomp and circumstance of compounding words but also in the demands of alliteration. Taken by themselves, the kennings are not especially witty, and calling a ship “a sea-stallion” and the open sea “the whale’s-road” is no great feat. The Norse skalds went a step further, calling the sea “the seastallion’s-road,” so that what originally was an image became a laborious equation. In turn, my investigation of kennings led me to the study of Old English and Old Norse. Another factor that impelled me in this direction was my ancestry. It may be no more than a romantic superstition of mine, but the fact that the Haslams lived in Northumbria and Mercia—or, as they are today called, Northumberland and the Midlands—links me with a Saxon and perhaps a Danish past. (My fondness for such a northern past has been resented by some of my more nationalistic countrymen, who dub me an Englishman, but I hardly need point out that many things English are utterly alien to me: tea, the Royal Family, “manly” sports, the worship of every line written by the uncaring Shakespeare.)

  At the end of one of my University courses, several of my students came to see me at the Library. We had just polished off all English literature from Beowulf to Bernard Shaw in the span of four months, and I thought we might now do something in earnest. I proposed that we begin at the beginning, and they agreed. I knew that at home, on a certain top shelf, I had copies of Sweet’s Anglo-Saxon Reader and the Anglo-Saxon Chronicle. When the students came the next Saturday morning, we began reading these two books. We skipped grammar as much as we could and pronounced the words like German. All at once, we fell in love with a sentence in which Rome (Romeburh) was mentioned. We got drunk on these words and rushed down Peru Street shouting them at the top of our voices. And so we had set out on a long adventure. I had always thought of English literature as the richest in the world; the discovery now of a secret chamber at the very threshold of that literature came to me as an additional gift. Personally, I knew that the adventure would be an endless one, and that I could go on studying Old English for the rest of my days. The pleasure of studying, not the vanity of mastering, has been my chief aim, and I have not been disappointed these past twelve years. As for my recent interest in Old Norse, this is only a logical step, since the two languages are closely linked and since of all medieval Germanic literature Old Norse is the crown. My excursions into Old English have been wholly personal and, therefore, have made their way into a number of my poems. A fellow-academician once took me aside and said in alarm, “What do you mean by publishing a poem entitled ‘Embarking on the Study of Anglo-Saxon Grammar’?” I tried to make him understand that Anglo-Saxon was as intimate an experience to me as looking at a sunset or falling in love. Around 1954, I began writing short prose pieces— sketches and parables. One day, my friend Carlos Frías, of Emecé, told me he needed a new book for the series of my so-called complete works. I said I had none to give him, but Frías persisted, saying, “Every writer has a book if he only looks for it.” Going through drawers at home one idle Sunday, I began ferreting out uncollected poems and prose pieces, some of the latter going back to my days on Crítica.

  These odds and ends, sorted out and ordered and published in 1960, became El hacedor (The Maker). Remarkably, this book, which I accumulated rather than wrote, seems to me my most personal work and, to my taste, maybe my best. The explanation is only too easy: the pages of El hacedor contain no padding.
Each piece was written for its own sake and out of an inner necessity. By the time it was undertaken, I had come to realize that fine writing is a mistake, and a mistake born out of vanity. Good writing, I firmly believe, should be done in an unobtrusive way.

  On the closing page of that book, I told of a man who sets out to make a picture of the universe. After many years, he has covered a blank wall with images of ships, towers, horses, weapons, and men, only to find out at the moment of his death that he has drawn a likeness of his own face. This may be the case of all books; it is certainly the case of this particular book.

  Crowded Years

  Fame, like my blindness, had been coming gradually to me. I had never expected it, I had never sought it. Néstor Ibarra and Roger Caillois, who in the early 1950’s daringly translated me into French, were my first benefactors. I suspect that their pioneer work paved the way for my sharing with Samuel Beckett the Formentor Prize in 1961, for until I appeared in French I was practically invisible—not only abroad but at home in Buenos Aires. As a consequence of that prize, my books mushroomed overnight throughout the western world.