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By Jorge Luis Borges

Borges On Writing

In 1971, Jorge Luis Borges was once invited to preside over a chain of seminars on his writing at Columbia college. This booklet is a checklist of these seminars, which took the shape of casual discussions among Borges, Norman Thomas di Giovanni--his editor and translator, Frank MacShane--then head of the writing application at Columbia, and the scholars. Borges's prose, poetry, and translations are dealt with individually and the e-book is split accordingly.

The prose seminar is predicated on a line-by-line dialogue of 1 of Borges's such a lot designated tales, "The finish of the Duel." Borges explains how he wrote the tale, his use of neighborhood wisdom, and his attribute approach to concerning violent occasions in an exact and ironic approach. This shut research of his equipment produces a few illuminating observations at the position of the author and the functionality of literature.

The poetry part starts off with a few common comments by way of Borges at the want for shape and constitution and strikes right into a revealing research of 4 of his poems. the ultimate part, on translation, is an exhilarating dialogue of ways the artwork and tradition of 1 kingdom may be "translated" into the language of another.

This booklet is a tribute to the intense craftsmanship of 1 of South America's--indeed, the world's--most exotic writers and offers invaluable perception into his suggestion and his method.

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Telling them that the country needed them and that the government oppression was unbearable. di giovanni: Of course, they know nothing whatever of government oppression in the country. All those things are beyond them; they are merely country folk, simple country folk. borges: He handed around white badges to mark them as Blancos . . di giovanni: They knew nothing whatever about the whole thing. They were made into Blancos, but they might just as well have been made into Colorados. History, of course, was beyond them— and politics also.

Question: Yes, why not? My opposition was public, but it didn’t find its way into my literary output. I was giving my lectures all the time; I was president of the Argentine Society of Writers, and at every lecture I got in my dig at Perón. Everybody knew I was against him, and the proof of that is- that as soon as we got our Revolución Libertadora, I was made Director of the National Library. They needed an anti-Peronista, and they knew about me. My mother, my sister, and my nephew had all been in prison; I was hounded by a detective who, by the way, was anti-Perón but who had to do his job.

He was from Cerro Largo himself, and knew all about the old rivalry between Silveira and Cardoso. di giovanni: Of course, I had to make him come from Cerro Largo; if not, he would not have heard about the two gauchos’ being enemies of each other. borges:  He sent for the pair and told them, “I already know you two can’t stand the sight of each other, and that for some time now you’ve been looking for a chance to have it out. I have good news for you. di giovanni: borges: Good news! He really meant it.

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