Collected Fictions (45 page)

I had a sense of infinite veneration, infinite pity.

"Serves you right, having your mind boggled, for sticking your nose in where you weren't wanted," said a jovial, bored voice. "And you may rack your brains, but you'll never repay me for this revelation—not in a hundred years. What a magnificent observatory, eh, Borges!"

Carlos Argentino's shoes occupied the highest step. In the sudden half-light, I managed to get to my feet.

"Magnificent... Yes, quite ... magnificent," I stammered.

The indifference in my voice surprised me.

"You did see it?" Carlos Argentino insisted anxiously. "See it clearly? In color and everything?"

Instantly, I conceived my revenge. In the most kindly sort of way— manifestly pitying, nervous, evasive—I thanked Carlos Argentino Daneri for the hospitality of his cellar and urged him to take advantage of the demolition of his house to remove himself from the pernicious influences of the metropolis, which no one—believe me, no one!—can be immune to. I refused, with gentle firmness, to discuss the Aleph; I clasped him by both shoulders as I took my leave and told him again that the country—peace and quiet, you know—was the very best medicine one could take.

Out in the street, on the steps of the Constitución Station, in the subway, all the faces seemed familiar. I feared there was nothing that had the power to surprise or astonish me anymore, I feared that I would never again be without a sense of
déjà vu.
Fortunately, after a few unsleeping nights, forgetfulness began to work in me again.

Postscript (March 1, 1943):
Six months after the demolition of the building on Calle Caray, Procrustes Publishers, undaunted by the length of Carlos Argentino Daneri's substantial poem, published the first in its series of "Argentine pieces." It goes without saying what happened: Carlos Argentino won second place in the National Prize for Literature. 
²

The first prize went to Dr. Aita; third, to Dr. Mario Bonfanti; incredibly, my own work
The Sharper's
Cards
did not earn a single vote. Once more, incomprehension and envy triumphed! I have not managed to see Daneri for quite a long time; the newspapers say he'll soon be giving us another volume. His happy pen (belabored no longer by the Aleph) has been consecrated to setting the compendia of Dr. Acevedo Diaz to verse.*

There are two observations that I wish to add: one, with regard to the nature of the Aleph; the other, with respect to its name. Let me begin with the latter: "aleph," as well all know, is the name of the first letter of the alphabet of the sacred language. Its application to the disk of my tale would not appear to be accidental. In the Kabbala, that letter signifies the En Soph, the pure and unlimited godhead; it has also been said that its shape is that of a man pointing to the sky and the earth, to indicate that the lower world is the map and mirror of the higher. For the
Mengenlehre,
the aleph is the symbol of the transfinite numbers, in which the whole is not greater than any of its parts. I would like to know: Did Carlos Argentino choose that name, or did he read it,
applied to another point at which all points
converge,
in one of the innumerable texts revealed to him by the Aleph in his house? Incredible as it may seem, I believe that there is (or was) another Aleph; I believe that the Aleph of Calle Garay was a
false
Aleph.

Let me state my reasons. In 1867, Captain Burton was the British consul in Brazil; in July of 1942, Pedro Henríquez Ureña* discovered a manuscript by Burton in a library in Santos, and in this manuscript Burton discussed the mirror attributed in the East to Iskandar dhu-al-Qarnayn, or Alexander the Great of Macedonia. In this glass, Burton said, the entire universe was reflected. Burton mentions other similar artifices—the sevenfold goblet of KaiKhosru; the mirror that Tãriq ibn-Ziyãd found in a tower
(1001
Nights,
272); the mirror that Lucían of Samosata examined on the moon
(True History,
1:26); the specular spear attributed by the first book of Capella's
Satyricon
to Jupiter; Merlin's universal mirror, "round and hollow and . .. [that] seem'd a world of glas"
(Faerie Queene,
111:2,19)—and then adds these curious words: "But all the foregoing (besides sharing the defect of not existing) are mere optical instruments. The faithful who come to the Amr mosque in Cairo, know very well that the universe lies inside one of the stone columns that surround the central courtyard.. .. No one, of course, can see it, but those who put their ear to the surface claim to hear, within a short time, the bustling rumour of it. ... The mosque dates to the seventh century; the columns were taken from other, pre-Islamic, temples, for asibn-Khaldün has written:
In the republics founded by nomads, the attendance of foreigners is
essential for all those things that bear upon carpentry."

Does that Aleph exist, within the heart of a stone? Did I see it when I saw all things, and then forget it?

Our minds are permeable to forgetfulness; I myself am distorting and losing, through the tragic erosion of the years, the features of Beatriz.

For Estela Canto

^[1]
I do, however, recall these lines from a satire in which he lashed out vehemently against bad poets: This one fits the poem with a coat of mail Of erudition; that one, with gala pomps and circumstance. Both flail their absurd pennons to no avail, Neglecting, poor wretches, the factor sublime—its LOVELINESS!

It was only out of concern that he might create an army of implacable and powerful enemies, he told me, that he did not fearlessly publish the poem.

^[2]
"I received your mournful congratulations," he wrote me. "You scoff, my lamentable friend, in envy, but you shall confess—though the words stick in your throat!— that this time I have crowned my cap with the most scarlet of plumes; my turban, with the most caliphal of rubies."

Aside from "Emma Zunz" (whose wonderful plot—much superior to its timid execution—was given me by Cecilia Ingenieros) and "Story of the Warrior and the Captive Maiden" (which attempts to interpret two supposedly real occurrences), the stories in this book belong to the genre of fantasy. Of them, the first is the most fully realized; its subject is the effect that immortality would have on humankind. That outline for an ethics of immortality is followed by "The Dead Man"; in that story, Azevedo Bandeira is a man from Rivera or Cerro Largo and also an uncouth sort of deity—a mulatto, renegade version of Chesterton's incomparable Sunday. (Chapter XXIX of
The Decline and Fall of
the Roman Empire
tells of a fate much like Otalora's, though considerably grander and more incredible.) About "The Theologians," suffice it to say that they are a dream—a somewhat melancholy dream—of personal identity; about the "Biography of Tadeo Isidoro Cruz," that it is a gloss on the
Martín Fierro.
I owe to a canvas painted by Watts in 1896 the story called "The House of Asterion" and the character of its poor protagonist. "The Other Death" is a fantasy about time, which I wove under the suggestion of some of Pier Damiani's arguments. During the last war, no one could have wished more earnestly than I for Germany's defeat; no one could have felt more strongly than I the tragedy of Germany's fate;
"Deutsches Requiem"
is an attempt to understand that fate, which our own"Germanophiles"(who know nothing of Germany) neither wept over nor even suspected. "The Writing of the God" has been judged generously; the jaguar obliged me to put into the mouth of a "priest of the Pyramid of Qaholom" the arguments of a Kabbalist or a theologian. In "The Zahir" and "The Aleph," I think I can detect some influence of Wells' story "The Cristal Egg"(1899).

J. L. B.
Buenos Aires, May
3,1949

Postscript (1952):
I have added four stories to this new edition. "Ibn-Hakam al-Bokhari, Murdered in His Labyrinth" is not (I have been assured) memorable, in spite of its bloodcurdling title. We might think of it as a variation on the story of "The Two Kings in Their Two Labyrinths," interpolated into the
l001
Nights
by the copyists yet passed over by the prudent Galland. About "The Wait" I shall say only that it was suggested by a true police story that Alfredo Doblas read me, some ten years ago, while we were classifying books—following the manual of the Bibliographic Institute of Brussels, I might add, a code I have entirely forgotten save for the detail that God can be found under the number 231. The subject of the story was a Turk; I made him an Italian so that I could more easily get inside his skin. The momentary yet repeated sight of a long, narrow rooming house that sits around the corner of Calle Paraná, in Buenos Aires, provided me with the story titled "The Man on the Threshold"; I set it in India so that its improbability might be bearable.

J. L. B.

For Leopoldo Lugones*

The sounds of the plaza fall behind, and Ienferthe Library. Almost physically, I can feel the gravitation of the books, the serene atmosphere of orderliness, time magically mounted and preserved. To left and right, absorbed in their waking dream, rows of readers' momentary problems in the light of the "scholarly lamps," as a Miltonian displacement of adjectives would have it. I recall having recalled that trope here in the Library once before, and then that other adjective of setting— the Lunario 's"arid camel," and then that hexameter from the AEneid that employs, and surpasses, the same artifice: Ibant obscuri sola sub nocte per umbram.

These reflections bring me to the door of your office. I go inside. We exchange a few conventional, cordial words, and I give you this book. Unless I am mistaken, you didn't dislike me, Lugones, and you'd have liked to like some work of mine. That never happened, but this time you turn the pages and read a line or two approvingly, perhaps because you've recognized your own voice in it, perhaps because the halting poetry itself is less important than the clean-limbed theory.

At this point, my dream begins to fade and melt away, like water in water. The vast library surrounding me is on Calle Mexico, not Rodríguez Peña, and you, Lugones, killed yourself in early '38. My vanity and my nostalgia have confected a scene that is impossible. Maybe so, I tell myself, but tomorrow I too will be dead and our times will run together and chronology will melt into an orb of symbols, and somehow it will be true to say that I have brought you this book and that you have accepted it.

He had never lingered among the pleasures of memory. Impressions, momentary and vivid, would wash over him: a potter's vermilion glaze; the sky-vault filled with stars that were also gods; the moon, from which a lion had fallen; the smoothness of marble under his sensitive, slow fingertips; the taste of wild boar meat, which he liked to tear at with brusque, white bites; a Phoenician word; the black shadow cast by a spear on the yellow sand; the nearness of the sea or women; heavy wine, its harsh edge tempered by honey—these things could flood the entire circuit of his soul. He had known terror, but he had known wrath and courage as well, and once he had been the first to scale an enemy wall. Keen, curious, inadvertent, with no law but satisfaction and immediate indifference, he had wandered the various world and on now this, now that seashore, he had gazed upon the cities of men and their palaces. In teeming marketplaces or at the foot of a mountain upon whose uncertain peak there might be satyrs, he had listened to complex stories, which he took in as he took in reality—without asking whether they were true or false.

Gradually, the splendid universe began drawing away from him; a stubborn fog blurred the lines of his hand; the night lost its peopling stars, the earth became uncertain under his feet. Everything grew distant, and indistinct. When he learned that he was going blind, he cried out. ("Stoicism" had not yet been invented, and Hector could flee without self-diminution.) Now (he felt)
I will not be able to see the sky
filled with mythological dread or this face that the years will transfigure.
Days and nights passed over this despair of his flesh, but one morning he awoke, looked (with calm now) at the blurred things that lay about him, and felt, inexplicably, the way one might feel upon recognizing a melody or a voice, that all this had happened to him before and that he had faced it with fear but also with joy and hopefulness and curiosity. Then he descended into his memory, which seemed to him endless, and managed to draw up from that vertigo the lost remembrance that gleamed like a coin in the rain—perhaps because he had never really looked at it except (perhaps) in a dream.

The memory was this: Another boy had insulted him, and he had run to his father and told him the story.

As though he weren't paying attention, or didn't understand, his father let him talk, but then he took a bronze knife down from the wall—a beautiful knife, charged with power, that the boy had furtively coveted. Now he held it in his hands, and the surprise of possession wiped away the insult that he had suffered, but his father's voice was speaking:
Let it be known that you are a man,
and there was a command in the voice. Night's blindness was upon the paths; clutching to himself the knife in which he sensed a magical power, the boy descended the steep rough hillside that his house stood on and ran to the seashore, dreaming that he was Ajax and Perseus and peopling the dark salt air with wounds and battles. It was the precise flavor of that moment that he sought for now; the rest didn't matter—the insulting words of his challenge, the clumsy combat, the return with the bloodied blade.