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Eliot Weinberger's introduction to this marvelously rich and elegantly constructed book kicks off with a striking point: "JLB never wrote anything long, and so it is often assumed that he never wrote much. In fact he was a man sworn to the virtue of concision who couldn't stop writing." In Latin America, he also points out, Borges's essays are often considered to be the best of Borges. This volume reveals Borges the scholar as none other has before and revels in the intimate links between his fiction and non-fiction while carefully distinguishing between them: "his fictions may often resemble non-fiction . . . but his non-fictions never . . . include information that is not independently verifiable." | |
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At the same time, Borges is the creator of a world of his own. Its sources, acquired early in life, remained faithful to, and elaborated on, endlessly - a series of themes and variations which, as Weinberger points out, give full value to the possibilities of repetition without lapsing into redundancy, are not, despite the extraordinarily rich erudition, limitless: we are inside a recognizably homogeneous creation, a world image in a class of images conjured up by only the greatest masters. And the heart of it is, as for every writer, language. Yet it needs saying that everywhere in Borges, there is a clear need to conjugate intellect and heart in creation - that without emotion sourcing literature, with stress alone on the signifier and the fabrication of writing, his loving kind of lucidity will be irretrievably lost. Borges is wonderful at crucial distinctions in the field: compare for example his immense admiration for «Ulysses» to his respectful doubts concerning the «Wake». Many who play games with language today, provoking a true crisis of the signified, plunging ever deeper into disjunctivitis and losing dozens of readers a day both for themselves and for literature in general, might take note.
My great love would be the "Nine Dantesque Essays" of 1945-51. Borges's reading of the almighty Commedia is full of illuminations. His views on Dante's strictly accurate "geographical" and psychological topography; his problem in masking his own role as justicer in a poem where the Deity alone is supposed to hold that part; his fearful love of the great doomed pagan poets in this respect; his defence of indeterminacy in the "false problem of Ugolino" are among Borges's many successes. Above all I found greatly moving Borge's attention to Dante's incurable sadness in relation to Beatrice. He thinks of her when seeing Paolo & Francesca together as he and Beatrice had never been. He recognizes that he loved her more than she loved him - if indeed she ever did - in the dream encounter of Purgatorio XXXII (indeed he may have dreamed the whole poem, Borges suggests, in order to engineer a re-encounter). He receives her smile at the end of Paradiso only to see her turn away from him forever. But Dante has gained the poem - and I cannot help thinking of Borges's long-developing loss of sight, finalized in 1955, ironically bringing him the Directorship of the National Library and the beginnings of international fame. He carries on, as lecturer - the "oral Borges" - with the hope he had already found in 1927: "But the best immortalities - those in the domain of passion - are still vacant. There is no poet who is the total voice of love, hate, or despair. That is, the greatest verses of humanity may still not have been written. This imperfection should raise our hopes." | |
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Nathaniel Tarn's latest publication is "I Think This May Be Eden," a CD of selected poems from Spoken Engine (Memphis/Nashville). Recent poems are in «Hambone», «First Intensity», and «Conjunctions» among others (obtainable from Small Press Distribution, Berkeley).
You can read more about Tarn | |
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