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Borges never establishes any direct parallel between his character's dream son and his . course, seeking ways to remake an imperfectly created world,and even to chiuige .. Borges,J. (, ). "Eveiything ¡uid Nothing", in E¡ Hacedor. asserts that Agustín Fernández Mallo's El hacedor (de Borges), Remake (), as an hacedor (de Borges), Remake's characteristically postpoetic impetus combines aracer.mobi aracer.mobi . This article examines how El hacedor (de Borges), Remake () by the Spanish writer Agustín . This content is only available as a PDF.
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Bureau of Public Secrets, Cross, rope, and arrow. He not only recovers his own past but also be- comes a poet, narrating his wanderings in the form of a flashback Books Blindness: Saul is blinded by the revelation of Christ Acts This pattern-a climactic turning-point marked by blindness or tears-is clearly recognizable in Borges's two Homer 35A pervasive theme of the essays collected in Otras inquisiciones is the definition of history as the repetition of events, ideas, and images.
Blindness is the turn- ing-point in the unnamed character's fate: "Cuando supo que se estaba quedando ciego, grit6" The tragic acceptance of blindness, in time, brings about a new identity, or rather the rev- elation of his true identity-his destiny as a maker.
The first para- graph gives a highly stylized account of the events preceding his metamorphosis from man into author. Fragments of events, im- pressions, and deeds, are chosen because of their relevance to the future literary work: the shadow of a lance, terror, rage and cour- "age, the attack on an enemy city will eventually find their way into the Iliad, while the taste of meat and wine, "la cercania del mar o de las mujeres" , the wonder of foreign lands and cities, the incredible centaurs, and "complicadas historias" will be- come part of the Odyssey.
But these fragmented images of the an- cient Greek world belong to every man; they do not individualize the character, nor does he heed them: "Nunca se habia demorado en los goces de la memoria. Las impresiones resbalaban sobre 61, momentaneas y vividas" In order to become an author, to become Homer, he must yet experience a double and contradic- tory epiphany.
He must first retrieve intimate memories from the depths of his past: the first fight, in which he kills another child who had insulted him, and the first night of love with a woman. In effect, blindness is a figure of death; he exchanges life for work. In accepting the loss of the brilliant world that once surrounded him, he gives up his individuality, the ephemeral nature of impressions and sensations, receiving in ex- change the universal, abstract essence of all experience: La noche cegaba los caminos; abrazado al pufal, en el que presentia una fuerza magica, descendi6 la brusca ladera que rodeaba la casa y corri6 a la orilla del mar, sofiindose Ayax y Perseo y poblando de heridas y de batallas la oscuridad salobre.
El sabor preciso de aquel momento era lo que ahora buscaba; no le importaba lo las afrentas del desafio, el torpe combate, el regreso con la hoja demrs: sangrienta. He "descends" into his memory as into a metaphoric grave: not unexpectedly, the text concludes with the mystery of literal death: "Sabemos estas cosas, pero no las que sinti6 al descender a las illtimas sombras" In becoming a maker, he goes from a living mortal man to one of the living dead-an immortal, a WanderingJew.
The conversion pattern, univocal in "El hacedor," becomes equivocal in "El inmortal. Mortality, while making him a man like all other men, also guarantees his pre- cious, precarious, inimitable singularity. Immortality, conversely, singles him out from the multitude, but robs him of his individual- ity.
Thus both mortality and immortality confer, and take away, individuality. This confusion of the conversion pattern appears in nightmar- ish complexity in the conversion, or rain, scene of "El inmortal. The turning point occurs on the morning of the rain, which brings the troglodytes not yet known to be the Im- mortals "una especie de 6xtasis" The narrator notices tears mixed with the rain streaming down the face of the troglo- dyte whom he has named Argos, after Ulysses's dog.
La praictica del griego le era penosa; tuve que repetir la pregunta. Muy poco, dijo. Menos que el rapsoda mas pobre. Ya habran pasado mil cien arios desde que la inventS" In place of a single conversion, the story has several, a prefiguration of the generalized confusion of identi- 38This allusion to the Thousand and One Nights anticipates the confusion later to take place between the author of the Odyssey and the transcriber of Sinbad's adventures Any immortal, any author, is no one and everyone.
No sooner has the Immortal recovered his identity as Homer than he loses it to the narrator: "La historia que he narrado parece irreal porque en ella se mezclan los sucesos de dos hombres distintos" The aporetic nature of the relationship between the two characters, on the one hand, and between the story and its intertext, on the other hand, is appropriately concentrated in a name: Argos.
By giving to a man the name of a dog, the narrator symbolizes the apparent degeneration which has brought the Im- mortals down to the level of troglodytes.
But more importantly, the name mirrors the aporia of identity. The dog Argos is the Homeric character linked by definition tothe two major themes of the Borgesian story, identity and death, since his sole function in the Odysseyis to identify Ulysses then disguised as an old and dis- gusting beggar, a sort of troglodyte , after which, having greatly outlived the ordinary lifespan of dogs, he dies Odyssey In a vertiginous series of reversals, the narrator another "Ulysses" gives to the troglodyte whom he fails to recognize as "Homer" the name of "Argos," the dog who recognized Ulysses.
The conversion pattern has gone awry:if Homer's Argos dies upon identifying Ulysses, Borges's troglodyte "dies" when he is called Argos and is transformed into Homer, thereby establishing the narrator's identity as "Ulysses" in effect recognizing him , but also-by virtue of the identification between author and charac- ter-as Homer, and so forth.
Borges's biographies are built on a radical postulate of identifi- cation. The simpler identification takes place between author and character, while the more complex and paradoxical one albeit a logical consequence of the former one occurs between writer and reader.
First, the author is equated with his character: the epic poet is identified with the epic hero. Homer's biography in "El hacedor" is modeled on the scene involving Ulysses and Demodocus.
The substance of the future Homer's biography is epic and heroic: deeds of war and tales of love make up the man.
The Immortal, like Ulysses, tells of battles and journeys, but these epic activities are increasingly subordinate to the quieter and vi- carious ones of the scholar: reading the Iliad, transcribing the voy- ages of Sinbad, discussing Homer's identity Borges does not just reverse the technique and logic of bio- graphical criticism by deriving the life from the work. In the same way Borges attributes to Homer some of the circumstances and acts of his heroes. But he goes one step fur- ther, reversing and generalizing the process of identification be- tween author and character.
Instead of a one-way derivation from character to author, as in ancient criticism; or from author to character, as in biographical criticism Borges establishes a mir- ror-like relation and equivalence between these two opposite log- ics.
From author to character and back, the mirroring is endless; there is no world behind the mirror. In this way, Borges finds an imaginary solution to the conflict between arms and letters. It is imaginary because it must be con- fined within the boundaries of literature. Mejor dicho: pocas cosas me han ocurrido mas dignas de memoria que el pensamiento de Schopenhauer o la muisica verbal de Inglaterra" El hacedor, Epilogo; The opposition no longer holds if living and read- ing are equated.
The passage from one to the other is achieved by a conversion that turns different into same. Thus the equivalency between living and reading, between reading and writing, be- comes literal: "?
Los fervorosos que se entregan a una linea de Shakespeare no son, literalmente, Shakespeare? The story of "Elinmortal" could be read as a commentary on this sentence.
The traditional "life is a dream" "la vida es suefio" undergoes a reversal into the fantastic "to dream is to live. It is this common, deterministic mode of argument which Borges upends by according the precedence to the author and seeing the man, if at all, as the derivative form" However, Sturrock fails to see that Borges is not react- ing to a "normal," "orthodox" or "common" process of derivation from life to work but rather to a modern, post-romantic process which Proust had attacked in Contre Sainte-Beuve : biographical criticism.
The Antologia Personal, compiled by Borges himself, extends this "coin principle" to pairs of stories that, once juxtaposed, become identical. Cartaphilus is also a reader and critic, since he analyzes and criti- cizes his own "autobiography" with stern lucidity. The title of Cordovero's study, A Coat of Many Colours,alludes to Cartaphilus's Biblical homonym Joseph; thus it establishes yet another secret analogy between author and critic.
The title chosen by Cordovero, on the one hand, reactivates the etymological mean- ing of "rhapsode" as one who sews pieces together; on the other hand, it alludes to the patchwork coat worn by the Wandering Jew in certain versions of the legend. But more ironically, the name Cordovero establishes the text as a mirror image of the intertext.
Just as Moses Cordovero, the six- teenth-century Safed kabbalist, based his interpretation of the Zohar on the assumption of textual unity,46 so, conversely, Nahum Cordovero champions textual heterogeneity. Cordovero the ana- lyst is the other side of Cordovero the unitarian. The two funda- mentally opposite ethics of reading which have polarized the his- tory of reading and interpretation from early Homeric criticism on are, for Borges, two sides of one coin.
They recount the birth of a mythical author: the common starting point is death. In this sense, Borges is very close to Hugo, whose poetic ego also un- dergoes rebirth after death, a destiny summarized in the famous statement: "Ce livre doit tre lu comme on lirait le livre d'un mort.
Blind claims that the legend of the Wandering Jew is a Christian misreading and appropriation of a pagan myth. As it applies to the realm of action, the term "ethics" would seem to be inappropriate to the act of reading, which applies to the realm of knowledge, were it not for the fact that Borges equates reading and living. On the poet's "impersonal ego" as an "allegory of the creative process," see Brombert, "Victor Hugo" The culmination of this process would couple a dead author with an invisible oeuvre: our critical exploration of "El inmortal" ultimately runs into "Pierre Menard, autor del Quixote," as the founding myth of Borges's fiction.
The story serves as a mythic autobiography, not just because Menard is the first of many fictional self-portraits, but also because Borges has repeatedly dated the true beginning of his writing to this fateful story-the first text written after his brush with death in thereby dismissing or outright negating all his previous literary production.
Indeed, the repetition of this process of self-effacement to the point of weari- ness is an inherent part of Borges's myth of literature, which end- lessly reenacts the birth of the author as Nobody. Potomac: Scripta Humanistica, Borges and the Kabbalah. Cambridge: Cambridge University Press, Albouy, Pierre.
La Creation mythologique chez Victor Hugo. Corti, Anderson, George K. The Legend of the Wandering Jew. Providence: Brown Univer- sity Press, Borges y la imaginaci6n. Mexico City: Bellas Artes, Berveiller, Michel.
Le Cosmopolitisme deJorge Luis Borges. Paris: Didier, Blind, Karl. Galit Hasan-Rokem and Alan Dundes. Bloomington: Indiana University Press, Borges at Conversations. Obras completas. Barcelona: Emec6 Editores, A PersonalAnthology. Anthony Kerrigan. New York: Grove Press, Pr6logos, con un prdlogo deprologos. Buenos Aires: Torres Agfiero, Brombert, Victor. Christ, Ronald. Clarke, Howard. Newark: University of Delaware Press, Dante Alighieri. New York: Bantam Books, Evans, Michael.
Richmond Lattimore. Chicago: University of Chicago Press, Hugo, Victor. Oeuvres completes. Paris: Club frangais du livre, Jullien, Dominique.
Lefkowitz, Mary. The Lives of the GreekPoets. Baltimore: Johns Hopkins University Press, Lellouche, Raphaal. Borges ou l'hypothese de l'auteur. Paris: Balland, Item: He might be Rudbek of Rudbek -- from perspective, cyberpunk simply means from most interesting month of the year. It is possible to devise new tables from scratch, but than and his mouth curved for to contemplate quivered in their foulness?
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