Jorge Luis Borges wrote: "Fame is a form of incomprehension, perhaps the worst." Since his death Borges has been inducted into the world literary canon through the efforts of a number of influential critics and the Borges estate. Central to this project has been the publication of a group of grand volumes whose greatest achievement has been to make available in English works that had previously remained obscure, even in Spanish. The five-year collaboration (1967-1972) between Borges and Norman Thomas di Giovanni produced the translations that brought Borges his burgeoning global English readership. The Lesson of the Master--a memoir and essays--is an indispensable work for Borges readers and his growing legion of students and scholars. Di Giovanni was the only translator to have Borges on hand on a daily basis to contradict or authorize his work. In addition di Giovanni is not burdened with an over-reverence for his subject but is on the contrary playful, robust, and witty. The Lesson of the Master is an essential illumination of one of the great masters of twentieth-century literature.

Publisher description -- Borges's sustained practice of the uncanny gives rise in his texts to endless tensions between illusion and meaning, and to the competing desires for fragmentation, dispersal, and stability. Molloy traces the movement of Borges's own writing by repeatedly spanning the boundaries of genre and cutting across the conventional separations of narrative, lyric and essay, fact and fiction. Rather than seeking to resolve the tensions and conflicts, she preserves and develops them, thereby maintaining the potential of these texts to disturb. At the site of these tensions, Molloy locates the play between meaning and meaningless that occurs in Borges's texts. From this vantage point his strategies of deception, recourse to simulacra, inquisitorial urge to unsettle binarism, and distrust of the permanent--all that makes Borges Borges--are examined with unmatched skill and acuity.

DIVExplores the early genre in which the voice of the cowboy of the pampas was used in tales and poetry of various Latin American authors, which shows the relationship of literature to the state./div

This book explores the relationship between time, life, and history in the work of Jorge Luis Borges and examines his work in relation to his contemporary, Walter Benjamin. By focusing on texts from the margins of the Borges canon—including the early poems on Buenos Aires, his biography of Argentina's minstrel poet Evaristo Carriego, the stories and translations from A Universal History of Infamy, as well as some of his renowned stories and essays—Kate Jenckes argues that Borges's writing performs an allegorical representation of history. Interspersed among the readings of Borges are careful and original readings of some of Benjamin's finest essays on the relationship between life, language, and history. Reading Borges in relationship to Benjamin draws out ethical and political implications from Borges's works that have been largely overlooked by his critics.

A distinguished poet and essayist and one of the finest writers of short stories in world letters, Jorge Luis Borges deliberately and regularly altered his work by extensive revision. In this volume, renowned Borges scholar Daniel Balderston undertakes to piece together Borges's creative process through the marks he left on paper. Balderston has consulted over 170 manuscripts and primary documents to reconstruct the creative process by which Borges arrived at his final published texts. How Borges Wrote is organized around the stages of his writing process, from notes on his reading and brainstorming sessions to his compositional notebooks, revisions to various drafts, and even corrections in already-published works. The book includes hundreds of reproductions of Borges’s manuscripts, allowing the reader to see clearly how he revised and "thought" on paper. The manuscripts studied include many of Borges’s most celebrated stories and essays--"The Aleph," "Kafka and His Precursors," "The Cult of the Phoenix," "The Garden of Forking Paths," "Emma Zunz," and many others--as well as lesser known but important works such as his 1930 biography of the poet Evaristo Carriego. As the first and only attempt at a systematic and comprehensive study of the trajectory of Borges's creative process, this will become a definitive work for all scholars who wish to trace how Borges wrote.

This book studies how Borges constructs a theory of translation that plays a fundamental role in the development of Argentine literature, and which, in turn, expands the potential for writers in Latin America to create new and innovative literatures through processes of re-reading, rewriting, and mis-translation. The book analyzes Borges's texts in both an Argentine and a transnational context, thus incorporating Borges's ideas into contemporary debates about translation and its relationship to language and aesthetics, Latin American culture and identity, tradition and originality, and center-periphery dichotomies. Furthermore, a central objective of this book is to show that the study of the importance of translation in Borges and of the importance of Borges for translation studies need not be separated. Furthermore, translation studies has much to gain by the inclusion of Latin American thinkers such as Borges, while literary studies has much to gain by in-depth considerations of the role of translation in Latin American literatures. Sergio Waisman is an Assistant Professor of Spanish at The George Washington University.