Short Stories of Jorge Luis Borges - The Giovanni Translations (19 page)

“Pierre Menard,” like its forerunner “The Approach to al-Mu’tasim,” was still a halfway house between the essay and the true tale. But the achievement spurred me on. I next tried something more ambitious—“TIön, Uqbar, Orbis Tertius,” about the discovery of a new world that finally replaces our present world. Both were published in Victoria Ocampo’s magazine
Sur
. I kept up my writing at the library. Though my colleagues thought of me as a traitor for not sharing their boisterous fun, I went on with work of my own in the basement, or, when the weather was warm, up on the flat roof. My Kafkian story “The Library of Babel” was meant as a nightmare version or magnification of that municipal library, and certain details in the text have no particular meaning. The numbers of books and shelves that I recorded in the story were literally what I had at my elbow. Clever critics have worried over those ciphers, and generously endowed them with mystic significance. “The Lottery in Babylon,” “Death and the Compass,” and “The Circular Ruins” were also written, in whole or part, while I played truant. These tales and others were to become
The Garden of Branching Paths
, a book expanded and retitled
Ficciones
in 1944.
Ficciones
and
El Aleph
(1949 and 1952), my second story collection, are, I suppose, my two major books.

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.