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  PENGUIN BOOKS

  COLLECTED FICTIONS

  Jorge Luis Borges was born in Buenos Aires in 1899 and was educated in Europe. One of the most widely acclaimed writers of our time, he published many collections of poems, essays, and short stories before his death in Geneva in June 1986. In 1961 Borges shared the International Publishers’ prize with Samuel Beckett. The Ingram Merrill Foundation granted him its Annual Literary Award in 1966 for his “outstanding contribution to literature.” In 1971 Columbia University awarded him the first of many degrees of Doctor of Letters, honoris causa (eventually the list included both Oxford and Cambridge), that he was to receive from the English-speaking world. In 1971 he also received the fifth biennial Jerusalem Prize and in 1973 was given one of Mexico's most prestigious cultural awards, the Alfonso Reyes Prize. In 1980 he shared with Gerardo Diego the Cervantes Prize, the Spanish world’s highest literary accolade. Borges was Director of the Argentine National Library from 1955 until 1973.

  Andrew Hurley is Professor of English at the University of Puerto Rico in San Juan, where he also teaches in the Translation Program. He has translated over two dozen book-length works of history, poetry, and fiction, including novels by Reinaldo Arenas. Ernesto Sabato, Fernando Arrabal, Gustavo Sainz, and Edgardo Rodriguez Julia and stories by Ana Lydia Vega, and many shorter works.

  Contents

  A UNIVERSAL HISTORY OF INIQUITY (1935)

  Preface to the First Edition

  Preface to the 1954 Edition

  The Cruel Redeemer Lazarus Morell

  The Improbable Impostor Tom Castro

  The Widow Ching—Pirate

  Monk Eastman, Purveyor of Iniquities

  The Disinterested Killer Bill Harrigan

  The Uncivil Teacher of Court Etiquette Kôtsuké no Suké

  Hakim, the Masked Dyer of Merv

  Man on Pink Corner*

  Et cetera

  Index of Sources

  FICTIONS (1944)

  THE GARDEN OF FORKING PATHS (1941)

  Foreword

  Tlön, Uqbar, Orbis Tertius

  The Approach to Al-Mu'tasim

  Pierre Menard, Author of the Quixote

  The Circular Ruins

  The Lottery in Babylon

  A Survey of the Works of Herbert Quain

  The Library of Babel

  The Garden of Forking Paths

  ARTIFICES (1944)

  Foreword

  Funes, His Memory*

  The Shape of the Sword

  The Theme of the Traitor and the Hero

  Death and the Compass

  The Secret Miracle

  Three Versions of Judas

  The End

  The Cult of the Phoenix

  The South

  THE ALEPH (1949)

  The Immortal

  The Dead Man

  The Theologians

  Story of the Warrior and the Captive Maiden

  A Biography of Tadeo Isidoro Cruz (1829—1874)

  Emma Zunz

  The House of Asterion

  The Other Death

  Deutsches Requiem

  Averroës' Search

  The Zahir

  The Writing of the God

  Ibn-Hakam al-Bokhari, Murdered in His Labyrinth

  The Two Kings and the Two Labyrinths

  The Wait

  The Man on the Threshold

  The Aleph

  Afterword

  THE MAKER (1960)

  Foreword

  The Maker*

  Dreamtigers*

  A Dialog About a Dialog

  Toenails

  Covered Mirrors

  Argumentum Ornithologicum

  The Captive

  The Mountebank

  Delia Elena San Marco

  A Dialog Between Dead Men

  The Plot

  A Problem

  The Yellow Rose

  The Witness

  Martín Fierro

  Mutations

  Parable of Cervantes and the Quixote

  Paradiso, XXXI, 108

  Parable of the Palace

  Everything and Nothing*

  Ragnarök

  Inferno, I, 32

  Borges and I

  Museum On Exactitude in Science

  In Memoriam, J.F.K.

  Afterword

  IN PRAISE OF DARKNESS (1969)

  Foreword

  The Ethnographer

  Pedro Salvadores

  Legend

  A Prayer

  His End and His Beginning

  BRODIE'S REPORT (1970)

  Foreword

  The Interloper

  Unworthy

  The Story from Rosendo Juárez

  The Encounter

  Juan Muraña

  The Elderly Lady

  The Duel

  The Other Duel

  Guayaquil*

  The Gospel According to Mark

  Brodie's Report

  THE BOOK OF SAND (1975)

  The Other

  Ulrikke

  The Congress

  There Are More Things

  The Sect of the Thirty

  The Night of the Gifts

  The Mirror and the Mask

  "Undr"

  A Weary Man's Utopia

  The Bribe

  Avelino Arredondo

  The Disk

  The Book of Sand

  Afterword

  SHAKESPEARE'S MEMORY (1983)

  August 25, 1983

  Blue Tigers

  The Rose of Paracelsus

  Shakespeare's Memory

  A Note on the Translation

  Acknowledgments

  Notes to the Fictions

  I inscribe this book to S. D. English, innumerable, and an Angel. Also: I offer her that kernel of myself that I have saved, somehow the central heart that deals not in words, traffics not with dreams, and is untouched by time, by joy, by adversities.

  Preface to the First Edition

  The exercises in narrative prose that constitute this book were performed from 1933 to 1934. They are derived, I think, from my rereadings of Stevenson and Chesterton, from the first films of von Sternberg, and perhaps from a particular biography of the Argentine poet Evaristo Carriego.* Certain techniques are overused: mismatched lists, abrupt transitions, the reduction of a person's entire life to two or three scenes. (It is this pictorial intention that also governs the story called "Man on Pink Corner.") The stories are not, nor do they attempt to be, psychological.

  With regard to the examples of magic that close the book, the only right I can claim to them is that of translator and reader. I sometimes think that good readers are poets as singular, and as awesome, as great authors themselves. No one will deny that the pieces attributed by Valéry to his pluperfect Monsieur Edmond Teste are worth notoriously less than those of his wife and friends.

  Reading, meanwhile, is an activity subsequent to writing—more resigned, more civil, more intellectual.

  J. L. B.

  Buenos Aires May 27,1935

  Preface to the 1954 Edition

  I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature. In vain did Andrew Lang attempt, in the eighteen-eighties, to imitate Pope's Odyssey; it was already a parody, and so defeated the parodist's attempt to exaggerate its tautness. "Baroco" was a term used for one of the modes of syllogistic reasoning; the eighteenth century applied it to certain abuses in seventeenth-century architecture and painting. I would venture to say that the baroque is the final stage in all art, when art flaunts and squanders its resources. The baroque is intellectual, and Bernard Shaw has said that all intellectual labor is inherently humoro
us. This humor is unintentional in the works of Baltasar Gracian* but intentional, even indulged, in the works of John Donne.

  The extravagant title of this volume proclaims its baroque nature. Softening its pages would have been equivalent to destroying them; that is why I have preferred, this once, to invoke the biblical words quod scripsi, scripsi (John 19:22), and simply reprint them, twenty years later, as they first appeared. They are the irresponsible sport of a shy sort of man who could not bring himself to write short stories, and so amused himself by changing and distorting (sometimes without aesthetic justification) the stories of other men. From these ambiguous exercises, he went on to the arduous composition of a straightforward short story—"Man on Pink Corner"—which he signed with the name of one of his grandfather's grandfathers, Francisco Bustos; the story has had a remarkable, and quite mysterious, success.

  In that text, which is written in the accents of the toughs and petty criminals of the Buenos Aires underworld, the reader will note that I have interpolated a number of “cultured” words - entrails, conversion , etc. I did this because the tough, the knife fighter, the thug, the type that Buenos Aires calls the compadre or compadrito, aspires to refinement, or (and this reason excludes the other, but it may be the true one) because compadres are individuals and don't always talk like The Compadre, which is a Platonic ideal.

  The learned doctors of the Great Vehicle teach us that the essential characteristic of the universe is its emptiness. They are certainly correct with respect to the tiny part of the universe that is this book. Gallows and pirates fill its pages, and that word iniquity strikes awe in its title, but under all the storm and lightning, there is nothing. It is all just appearance, a surface of images—which is why readers may, perhaps, enjoy it. The man who made it was a pitiable sort of creature, but he found amusement in writing it; it is to be hoped that some echo of that pleasure may reach its readers.

  In the section called Et cetera I have added three new pieces.

  J. L. B.

  The Cruel Redeemer Lazarus Morell

  THE REMOTE CAUSE

  In 1517, Fray Bartolomé de las Casas, feeling great pity for the Indians who grew worn and lean in the drudging infernos of the Antillean gold mines, proposed to Emperor Charles V that Negroes be brought to the isles of the Caribbean, so that they might grow worn and lean in the drudging infernos of the Antillean gold mines. To that odd variant on the species philanthropist we owe an infinitude of things: W. C. Handy's blues; the success achieved in Paris by the Uruguayan attorney-painter Pedro Figari*; the fine runaway-slave prose of the likewise Uruguayan Vicente Rossi*; the mythological stature of Abraham Lincoln; the half-million dead of the War of Secession; the $3.3 billion spent on military pensions; the statue of the imaginary semblance of Antonio (Falucho) Ruiz*; the inclusion of the verb "lynch" in respectable dictionaries; the impetuous King Vidor film Hallelujah; the stout bayonet charge of the regiment of "Blacks and Tans" (the color of their skins, not their uniforms) against that famous hill near Montevideo*; the gracefulness of certain elegant young ladies; the black man who killed Martín Fierro; that deplorable rumba The Peanut-Seller; the arrested and imprisoned Napoleonism of Toussaint L'Ouverture; the cross and the serpent in Haiti; the blood of goats whose throats are slashed by the papalois machete; the habanera that is the mother of the tango; the candombe.

  And yet another thing: the evil and magnificent existence of the cruel redeemer Lazarus Morell.*

  THE PLACE

  The Father of Waters, the Mississippi, the grandest river in the world, was the worthy stage for the deeds of that incomparable blackguard. (Alvarezde Pineda discovered this great river, though it was first explored by Hernando de Soto, conqueror of Peru, who whiled away his months in the prison of the Inca Atahualpa teaching his jailer chess. When de Soto died, the river's waters were his grave.)

  The Mississippi is a broad-chested river, a dark and infinite brother of the Paraná, the Uruguay, the Amazon, and the Orinoco. It is a river of mulatto-hued water; more than four hundred million tons of mud, carried by that water, insult the Gulf of Mexico each year. All that venerable and ancient waste has created a delta where gigantic swamp cypresses grow from the slough of a continent in perpetual dissolution and where labyrinths of clay, dead fish, and swamp reeds push out the borders and extend the peace of their fetid empire. Upstream, Arkansas and Ohio have their bottom-lands, too, populated by a jaundiced and hungry-looking race, prone to fevers, whose eyes gleam at the sight of stone and iron, for they know only sand and driftwood and muddy water.

  THE MEN

  In the early nineteenth century (the period that interests us) the vast cotton plantations on the riverbanks were worked from sunup to sundown by Negro slaves. They slept in wooden cabins on dirt floors. Apart from the mother-child relationship, kinship was conventional and murky; the slaves had given names, but not always surnames. They did not know how to read. Their soft falsetto voices sang an English of drawn-out vowels. They worked in rows, stooped under the overseer's lash. They would try to escape, and men with full beards would leap astride beautiful horses to hunt them down with baying dogs.

  Onto an alluvium of beast-like hopefulness and African fear there had sifted the words of the Scripture; their faith, therefore, was Christian. Go down, Moses, they would sing, low and in unison. The Mississippi served them as a magnificent image of the sordid Jordan.

  The owners of that hard-worked land and those bands of Negroes were idlers, greedy gentlemen with long hair who lived in wide-fronted mansions that looked out upon the river—their porches always pseudo-Greek with columns made of soft white pine. Good slaves cost a thousand dollars, but they didn't last long. Some were so ungrateful as to sicken and die. A man had to get the most he could out of such uncertain investments. That was why the slaves were in the fields from sunup to sundown; that was why the fields were made to yield up their cotton or tobacco or sugarcane every year. The female soil, worn and haggard from bearing that impatient culture's get, was left barren within a few years, and a formless, clayey desert crept into the plantations.

  On broken-down farms, on the outskirts of the cities, in dense fields of sugarcane, and on abject mud flats lived the "poor whites"; they were fisher-men, sometime hunters, horse thieves. They would sometimes even beg pieces of stolen food from the Negroes. And yet in their prostration they held one point of pride—their blood, untainted by "the cross of color" and unmixed. Lazarus Morell was one of these men.

  THE MAN

  The daguerreotypes printed in American magazines are not actually of Morell. That absence of a genuine likeness of a man as memorable and famous as Morell cannot be coincidental. It is probably safe to assume that Morell refused to sit for the silvered plate—essentially, so as to leave no pointless traces; incidentally, so as to enhance his mystery.... We do know, however, that he was not particularly good-looking as a young man and that his close-set eyes and thin lips did not conspire in his favor. The years, as time went on, imparted to him that peculiar majesty that white-haired blackguards, successful (and unpunished) criminals, seem generally to possess. He was a Southern gentleman of the old school, in spite of his impoverished childhood and his shameful life. He was not ignorant of the Scriptures, and he preached with singular conviction. "I once saw Lazarus Morell in the pulpit," wrote the owner of a gambling house in Baton Rouge, "and I heard his edifying words and saw the tears come to his eyes. I knew he was a fornicator, a nigger-stealer, and a murderer in the sight of the Lord, but tears came to my eyes too."

  Another testimony to those holy outpourings is provided by Morell himself: "I opened the Bible at random, put my finger on the first verse that came to hand—St. Paul it was—and preached for an hour and twenty minutes. Crenshaw and the boys didn't put that time to bad use, neither, for they rounded up all the folks' horses and made off with 'em. We sold 'em in the state of Arkansas, all but one bay stallion, the most spirited thing you ever laid eyes on, that I kept for myself. Crenshaw had his eye on that hor
se, too, but I convinced him it warn't the horse for him."

  THE METHOD

  Horses stolen in one state and sold in another were but the merest digression in Morell's criminal career, but they did prefigure the method that would assure him his place in a Universal History of Iniquity. His method was unique not only because of the suigeneris circumstances that shaped it, but also because of the depravity it required, its vile manipulation of trust, and its gradual evolution, like the terrifying unfolding of a nightmare. Al Capone and Bugs Moran operate with lavish capital and subservient machine guns in a great city, but their business is vulgar. They fight for a monopoly, and that is the extent of it.... In terms of numbers, Morell at one time could command more than a thousand sworn confederates. There were two hundred in the Heads, or General Council, and it was the Heads that gave the orders that the other eight hundred followed. These "strikers," as they were called, ran all the risk. If they stepped out of line, they would be handed over to the law or a rock would be tied to their feet and their bodies would be sunk in the swirling waters of the river. Often, these men were mulattoes. Their wicked mission was this:

  In a momentary wealth of gold and silver rings, to inspire respect, they would roam the vast plantations of the South. They would choose some wretched black man and offer him his freedom. They would tell him that if he'd run away from his master and allow them to resell him on another plantation far away, they would give him a share of the money and help him escape a second time. Then, they said, they'd convey him to free soil.... Money and freedom—ringing silver dollars and freedom to boot—what greater temptation could they hold out to him? The slave would work up the courage for his first escape.