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Collected Fictions Paperback – Deckle Edge, Sep 1 1999


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Product Details

  • Paperback: 576 pages
  • Publisher: Penguin Books; 1st edition (Sept. 1 1999)
  • Language: English
  • ISBN-10: 0140286802
  • ISBN-13: 978-0140286809
  • Product Dimensions: 14.4 x 3.8 x 21.5 cm
  • Shipping Weight: 640 g
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (51 customer reviews)
  • Amazon Bestsellers Rank: #63,652 in Books (See Top 100 in Books)
  • See Complete Table of Contents

Product Description

From Amazon

Although Jorge Luis Borges published his first book in 1923--doling out his own money for a limited edition of Fervor de Buenos Aires--he remained in Argentinian obscurity for almost three decades. In 1951, however, Ficciones appeared in French, followed soon after by an English translation. This collection, which included the cream of the author's short fictions, made it clear that Borges was a world-class (if highly unclassifiable) artist--a brilliant, lyrical miniaturist, who could pose the great questions of existence on the head of pin. And by 1961, when he shared the French Prix Formentor with Samuel Beckett, he seemed suddenly to tower over a half-dozen literary cultures, the very exemplar of modernism with a human face.

By the time of his death in 1986, Borges had been granted old master status by almost everybody (except, alas, the gentlemen of the Swedish Academy). Yet his work remained dispersed among a half-dozen different collections, some of them increasingly hard to find. Andrew Hurley has done readers a great service, then, by collecting all the stories in a single, meticulously translated volume. It's a pleasure to be reminded that Borges's style--poetic, dreamlike, and compounded of innumerable small surprises--was already in place by 1935, when he published A Universal History of Iniquity: "The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it." (Incidentally, the thrifty author later recycled the second of these aphorisms in his classic bit of bookish metaphysics, "Tlon, Uqbar, Orbis Teris.") The glories of his middle period, of course, have hardly aged a day. "The Garden of the Forking Paths" remains the best deconstruction of the detective story ever written, even in the post-Auster era, and "Pierre Menard, Author of the Quixote" puts the so-called death of the author in pointed, hilarious perspective.

But Hurley's omnibus also brings home exactly how consistent Borges remained in his concerns. As late as 1975, in "Avelino Arredondo," he was still asking (and occasionally even answering) the same riddles about time and its human repository, memory: "For the man in prison, or the blind man, time flows downstream as though down a slight decline. As he reached the midpoint of his reclusion, Arredondo more than once achieved that virtually timeless time. In the first patio there was a wellhead, and at the bottom, a cistern where a toad lived; it never occurred to Arredondo that it was the toad's time, bordering on eternity, that he sought." Throughout, Hurley's translation is crisp and assured (although this reader will always have a soft spot for "Funes, the Memorious" rather than "Funes, His Memory.") And thanks to his efforts, Borgesians will find no better--and no more pleasurable--rebuttal of the author's description of himself as "a shy sort of man who could not bring himself to write short stories." --James Marcus --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

Undeniably one of the most influential writers to emerge in this century from Latin America or anywhere else, Borges (1899-1986) is best known for his short stories, all of which appear here for the first time in one volume, translated and annotated by University of Puerto Rico professor Hurley. Many of the stories return to the same set of images and themes that mark Borges's best known work: the code of ethics embraced by gauchos, knifefighters and outlaws; labyrinths; confrontations with one's doppelganger; and discoveries of artifacts from other worlds (an encyclopedia of a mysterious region in Iraq; a strange disc that has only one side and that gives a king his power; a menacing book that infinitely multiplies its own pages; fragmentary manuscripts that narrate otherworldly accounts of lands of the immortals). Less familiar are episodes that narrate the violent, sordid careers of pirates and outlaws like Billy the Kid (particularly in the early collection A Universal History of Iniquity) or attempts to dramatize the consciousness of Shakespeare or Homer. Elusive, erudite, melancholic, Borges's fiction will intrigue the general reader as well as the scholar. This is the first in a series of three new translations (including the Collected Poems and Collected Nonfictions, all timed to coincide with the centennial of the author's birth), which will offer an alternative to the extensive but very controversial collaborations between Borges and Norman Thomas di Giovanni. First serial rights to the New Yorker, the New York Review of Books and Grand Street.
Copyright 1998 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

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In 1517, Fray Bartolome 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. Read the first page
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Customer Reviews

4.4 out of 5 stars

Most helpful customer reviews

13 of 15 people found the following review helpful By C. G. Buttimer on June 11 2004
Format: Paperback
I regrettably have to concur with the readers from Portland and Panama - as they indicate this collection is a tragedy, as well as a travesty. Here are a couple of examples from my desert island short story, Tlon Uqbar, Orbius Tertius:
- Andrew Hurley has: "The mirror troubled the far end of a hallway in a large country house..."
- James E. Irby (in the Penguin Modern Classic edition of Labyrinths) has: "The mirror troubled the depths of a corridor in a country house..."
and
AH: "... A literal (though also laggardly) reprint..."
JEI: "... a literal but delinquent reprint..."
He doesn't seem to have any respect for Borges' style of writing. Really disappointing. And Carlos Fuentes, a notable admirer of Borges, shared this view on reviewing the Hurley edition.
Avoid.
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1 of 1 people found the following review helpful By Edward W. Jawer on Oct. 21 1999
Format: Paperback
To be finally faced with this monumental work cannot be anything but a joy and privledge to anyone who reveres the work of Jorge Luis Borges. To one whose English contact with his work has been represented by others than Andrew Hurley however, his work can be abruptly disconcerting. Consider and compare one spare example: Read side by side from "The Book Of Sand", the two versions of "The Other", both by Andrew Hurley and that of Norman Thomas Di Giovanni, and you may recall the fable of the blind men describing an elephant; each by feeling a different part of the anatomy. They tell the identical tale, but the resultant effect is completely dipolar. Di Giovanni recreates for us in English, the essential magical realism with which Borges spoke, while retaining the essence and cadence that fill this short tale with it's dreamlike structure. It is carefully and lovingly crafted, with respect and methodic attention to the original Spanish cadre. The hypnotic illusion it creates puts the reader in it's spell fully, from the first sentence. Hurley's version, relies soley upon his perception of how best to explain to the reader, what it is he thinks the author had in mind.. It is as if though he sought to put the lines onto paper as quickly as possible, while recreating a contemporary English version of Borges plan. For the reader new to Borges' majestic presence, there is an unwarranted intrusion into the translation concept, as if the project was rushed to completion. How long and hard Hurley has worked on this enormous procect deserves utmost admiration. How new readers of Borges will interpret what they read is troubling, in comparison to those who have come before him.
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1 of 1 people found the following review helpful By A Customer on Feb. 5 2000
Format: Paperback
These stories read like they are translated verbatim without any consideration of how enjoyable the end product will be. Hurley's sentences are frigid and mechanical, lacking much of the simplicity and brevity that makes Borges great. Only some of Borges's stories are supposed to read like encyclopedia entries.
Di Giovanni's translations are far more readable. After all, Di Giovanni worked closely with Borges during translation, and Borges himself had a pretty good understanding of the English language.
Having said that, I'm grateful that these stories are finally available in a single volume. But I feel the book would have been much better had Hurley only translated the stories for which a good translation does not already exist.
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1 of 1 people found the following review helpful By Paco Aramburu on Sept. 13 2000
Format: Paperback
True, the translation could be better. I found myself re-writing in my head alternative sentences. But that is exactly what Borges would have wanted his readers to do. A dream master, JLB guides us into worlds that guess at other worlds and leads us to our own discoveries. I can't count the times I had to put the book down to allow myself to ponder on what I was reading. Some of his stories border the essay, and that uncertainty makes the plot more believable and profound. Like with any book, recreate it in your mind, and be part of a Borges dream.
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By D Glover TOP 500 REVIEWER on March 21 2011
Format: Paperback
To have all of Borges' prose fiction in one volume is such a treat. I was lead to Borges by Umberto Eco and I have enjoyed every moment I have spent enthralled in Borges' short stories. One can certainly see how he has been influenced by Chesterton and Poe and how, in turn, he has influenced Eco and so many other modern day writers who now mix the natural and supernatural in their tales. These fantastic tales of labyrinths, mirrors, parallel dimensions, non-linear time, dreams, imaginary documents and fictional authors, as well as his folk tales of a past Argentina, will simultaneously mesmerize and frustrate readers: mesmerize because the reader will be carried away into the bizarre worlds of Borges' imagination; frustrate because it will leave the reader wishing for more and longer works (it is especially sad for me that Borges never wrote a novel...thankfully Eco translates some of the main ideas within Borges' short stories into his novels).

Some reviewers bemoan Hurley's translation as being less literary than other previous translations, and the language can tend to be somewhat plain. Personally, whatever you may think about any given translation or which style you may prefer, what we do know about Borges is that he would have approved of multiple translations - the more the merrier - and he would have relished the places where his stories differed between translations and laughed at the arguments the differences have caused. After all, could anything be more Borgesian? He translated several great works into Spanish and was noted for the subtle changes he sometimes consciously introduced.

While all of Borges is definitely not for everyone, everyone should at least read a few of his stories.
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